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ESTHETIC 
PHYSICAL 
CULTURE. 

A  SELF-INSTRUCTOR 


ALL  CULTURED    CIRCLES,  AND    ESPECIALLY    FOR 
ORATORICAL  AND  DRAMATIC  ARTISTS. 


PROFESSOR   OF   /ESTHETIC   PHYSICAL   CULTURE,    VOICE-PRODUCTION,    ORATORY,    DRAMATIC 
READING  AND   ACTING;    AUTHOR   OF    "GYMNASTICS  OFT^i^X'§^^^^^-^-i!^^ 
'talent  and   SCHOOL,"    ETC.,   ET^^^^^^"^^^ -*-^'"^^-^^  " 

y^^    01^  THR 

riVERSITY) 


o:E^Ia-I2^-^Xi  ixjXjTjsti^.a.i'i 


ALBANY,  N.  V. : 

EDGAR     S.     ^A^ERNER, 

The  Voice  Press, 

1884. 


\ifh:$^ 


Copyright  by 
Edgar  S.  Weknek. 

1883. 
Aii  rights  reserved. 


r^^'" 
w\' 


PREFACE  TO  THE  FIRST,  GERMAN  EDITION. 


We  all,  as  respects  our  knowledge  and  abilities,  stand  upon  the  experience 
of  earlier  races;  and  popular  progress  could  not  be  imagin- 
able if  we  treated  the  arts  and  sciences  as  mere  empirics. 
A.  CzERWiNSKi  in  ''  The  History  of  Dancing." 

Among  the  ancient  Greeks,  all  gymnastic  exercises,  and  es- 
pecially dancing,  formed  a  leading  element  of  the  education  of 
youth.  Solon,  the  lawgiver,  ordained  the  study  of  gymnastics ; 
and  Pythagoras,  the  founder  of  a  rational  system,  won  the 
applause  of  the  populace  as  a  gymnast.  High  and  low,  old 
and  young,  cultivated  this  art.  According  to  Plato,  the  man  who 
found  no  pleasure  in  dancing  and  gymnastics,  was  a  rude,  unpol- 
ished clown.  The  great  value  the  Greeks  placed  upon  these  two 
arts,  is  evident  from  their  assiduous  cultivation  by  the  greatest 
men:  poets,  generals,  and  sages.  Sophocles  and  Epaminondas 
were  renowned  dancers,  and  Socrates  did  not  think  it  undigni- 
fied to  zealously  practice  dancing  in  his  old  age,  because  he 
thought  that  it  contributed  to  outward  and  inward  symmetry. 
There  were  also  great  poets  in  those  days,  who  were  masters  of 
the  art  of  dancing.  Arion,  Tyrtaeus,  as  well  as  yEschylus,  won 
great  repute  by  their  gestures  and  dancing.  The  utmost  modesty 
in  glance  and  demeanor  was  in  that  day  considered  an  absolute 
necessity,  and  a  rapid  gait  was  not  "good  form."  Demosthenes 
placed  bold  speech  and  a  rapid  gait  in  the  same  category.  The 
ancient  Hellenes  went  so  far  as  to  judge  of  a  man's  character  by 
his  gait  and  movements. 

With  the  fall  of  Greece,  a  rough  athletism.  took  the  place  of 
the  noble  principles  of  Pythagoras.  Toward  the  end  of  the 
Grecian  rule  this  culminated,  and  then  passed  over  to  the  Ro- 
mans, who  witnessed  with  rapturous  applause  combats  between 
men  and  wild  beasts,  or  mortal  conflicts  between  man  and  man, 
where,  while  the  dead  gladiator  was  ignominiously  dragged  from 


iv  Esthetic  Physical  Culture. 

the  arena,  the  victor  received  the  branch  of  palm,  and  was  often 
rewarded  with  money. 

The  following  example  will  show  what  a  strict  difference  the 
Grecians,  in  the  palmy  days  of  their  empire,  made  between 
rational  gymnastics  and  the  rough  antics  of  athletes  and  gym- 
nasts : 

''  To  Clisthenes  came  Hippoclides,  the  son  of  Pisandros,  a  rich 
Greek,  to  sue  for  the  hand  of  his  daughter.  The  father  con- 
sented. When,  at  a  family  feast  at  which  gymnastic  sports  were 
usually  carried  on,  Hippoclides,  through  leaping  and  other 
antics,  hoped  still  more  to  win  the  favor  of  the  father  of  his 
Agarista,  and  at  last,  after  all  possible  masterpieces,  placed  him- 
self upon  his  head  and  began  to  gesticulate  with  his  legs  as  if 
they  were  arms,  Clisthenes,  long  since  enraged  at  these  absurd 
performances,  cried  out :  ^  O,  son  of  Pisandros,  thou  hast  danced 
away  thy  marriage  ! ' 

In  Rome,  where,  as  we  have  seen,  gymnastics  degenerated  into 
horrible  cruelties,  the  dance  rose  at  length  to  great  popularity  in 
spite  of  the  opposition  of  almost  all  the  renowned  authors  and 
statesmen.  After  the  introduction  of  the  Greek  play,  which  was 
a  musical  declamatory  representation,  and  in  which,  for  the  Roman 
public,  dancing  and  music  were  the  main  things,  the  dancer  Diony- 
sia  received  an  income  of  42,000  marks,*  and  the  renowned  actor 
Roscius,  a  contemporary  of  Cicero,  an  income  of  129,000  marks. 

After  the  fall  of  Rome  there  is  a  chasm  of  many  centuries  in 
the  history  of  gymnastics. 

In  the  middle  ages,  it  was  the  tournament  that  demanded  skill 
and  decorum  as  well  as  strength.  After  the  fall  of  the  tourna- 
ment, scarce  anything  was  done  for  physical  culture,  and  only 
with  the  Reformation,  with  Luther  himself,  does  the  time  begin 
anew  in  which  the  necessity  of  making  mind  and  body  symmet- 
rical, was  recognized.  Montaigne,  the  French  essayist  (born 
1533),  says  :  "I  would  have  an  outward  decorum  and  pleas- 
ing   manners  cultivated  at  the  same  time  with  the  mind.     It 

*  The  former  over  $io,ooo  in  our  money,  the  latter  nearly  $33,000.  —  Translator, 


Preface  to  the  First  German  Edition.  v 

is  not  a  soul,  not  a  body,  we  educate  ;  it  is  a  man.  Out  of  this 
one  we  must  not  make  two."  And  Plato  says  :  "We  must  not 
break  in  one  without  the  other  ;  but  must  urge  and  guide  both 
alike,  like  a  span  of  horses  harnessed  to  a  shaft." 

In  the  seventeenth  and  eighteenth  centuries,  there  were  special 
dancing-masters  who  taught  deportment  and  fine  manners  to 
grown  persons  and  to  children,  dancing  being  considered  the 
basis  of  all  good  manners,  since  more  grace  entailed  greater 
decorum.  And  where  were  more  elegance,  more  grace  in  gait 
and  bearing  necessary  than  in  a  court  minuet,  or  gavotte  ?  An 
age  when  gallants  wore  embroidered  garments,  and  carried  swords, 
enforced  a  strict  attention  to  the  outward  proprieties,  and  to  fine 
manners. 

That  race  is  no  more.  The  time  has  gone  by  when  a  Marcel, 
the  most  renowned  of  European  ballet-masters  (his  lessons  cost 
very  dear,  he  being  paid  300  francs  for  the  bow  to  be  made  at  a 
court  presentation,  or  for  a  minuet  to  be  danced  at  some  state 
ball),  —  could  say  to  one  duchess:  "  Madame,  your  courtsey  is 
like  that  of  a  maid-servant ;  "  and  to  another  :  "  You  have  a  gait 
like  a  fish-wife.  Lay  aside  these  wretched  manners  and  begin 
your  bows  anew,  never  forgetting  what  you  are,  and  that  a 
consciousness  of  your  rank  should  control  your  slightest  ac- 
tions." *  Lord  Chesterfield  urgently  exhorted  his  son  to  take  les- 
sons of  Marcel  in  deportment,  so  that  he  might  enter  a  salon 
without  any  awkward  movements  of  the  arms  or  body;  and,  upon 
his  first  introduction  to  society,  produce  a  favorable  impression 
which  would  be  likely  to  endure. 

The  age  is  now  gone  by  when  Louis  XIV.  took  dancing-lessons 
twenty  years  in  order  to  perfect  himself  in  the  minuet  and 
gavotte,  where  the  finest  grace  must  have  expression.  Those 
days  are  past,  and  those  dancing-masters  have  left  no  successors. 
Were  there  any  such,  they  might  starve  for  lack  of  pupils  ;  for, 
as  the  public  announcements  tell  us  daily,  all  society-dances  may 
be  learned  in  eight  hours,  and  few  are  willing  to  give  more  time 

*  Czerwinski's  "  History  of  Dancing." 


vi  -Esthetic  Physical  Culture 

than  this.  In  no  society  of  the  present  day,  at  no  court,  it  might 
almost  be  said,  is  a  strict  etiquette  observed. 

Modern  turtierei^  with  its  bold  antics,  its  gigantic  leaps,  and 
contortions  of  the  body,  is  far  removed  from  the  rational  gym- 
nastics of  Pythagoras,  and  not  calculated  to  produce  decorum  or 
grace. 

Where  shall  the  youth  or  the  maiden  learn  anything  of  deport- 
ment ?  A  book  should  be  written  from  which  our  young  people, 
anxious  for  fine  manners,  may  draw  counsel.  So-called  books  of 
etiquette  to-day,  where  everything  is  reduced  to  a  science,  aid,  at 
most,  only  in  attaining  a  superficial  polish.  Even  a  work  on  de- 
corum must  have  a  strict  scientific  basis,  if  it  would  answer  its 
purpose,  if  it  would  be  abreast  of  the  times,  and  take  due  account 
of  the  laws  of  aesthetics. 

Much  has  been  written  upon  decorum  and  fine  manners.  Even 
our  most  renowned  authorities,  such  as  Goethe,  have  expressed 
their  ideas  upon  this  subject ;  but  we  nowhere  find  a  system,  a 
perfect  method.  We  possess  works  upon  gymnastics,  dancing, 
fencing,  the  plastic  and  histrionic  arts,  etc.,  but  none  in.  which, 
out  of  all  these,  a  system  is  deduced,  from  which  true  culture 
may  be  derived. 

German  literature  has,  indeed,  for  several  years,  been  enriched 
by  a  work  which  must  be  placed  in  quite  another  category,  and 
for  which  we  have  to  thank  the  talent  and  tireless  industry  of 
Herr  Hugo  Rothstein,  Director  of  the  Prussian  Royal  Central 
School  of  Gymnastics.  This  is  an  excellent  adaptation  of  the 
celebrated  work  of  Ling,  a  Swedish  teacher  of  gymnastics  and 
father  of  the  modern  rational  science  of  that  name.  Its  title  is 
Gymnastics.  But,  excellent  as  the  work  is,  its  benefits  must 
be  derived  indirectly  through  the  teacher  ;  it  would  be  useless  for 
the  pupil  to  seek  to  master  a  work  comprising  five  volumes,  and 
over  1600  pages. 

If  we  turn  to  the  literature  of  the  mimic  art,  we  find  ourselves 
in  the  same  dilemma.  This  literature  is  very  comprehensive, 
and  embraces  much  that  is  valuable,  from  Quintilian  down  to 


Preface  to  the  First  German  Edition.        vii 

writers  of  our  own  day  ;  but  all  these  works,  in  spite  of  their 
many  excellences,  lack  one  fundamental  thing:  Instruction  in 
training  the  limbs  to  a  capability  for  the  mimic  art,  without  which 
all  advice  is  useless. 

The  main  requirement  in  the  mimic  art  is  to  have  the  body  as  a 
whole,  and  its  members  severally,  so  in  one's  power  that  the 
moods  of  the  soul  may  be  easily  and  gracefully  rendered.  No 
treatise  upon  acting  can  teach  that  art  by  merely  laying  down  rules 
how  to  give  intellectual  expression  to  our  passions;  quite  apart 
from  the  fact  that  the  ways  in  which  our  passions  may  be  ex- 
pressed are  so  manifold,  and  so  distinct,  that  it  would  be  almost 
impossible  to  establish  fixed  rules.  There  can  be  no  real  acting 
until  the  limbs  and  the  body,  as  a  whole,  are  made  so  elastic  by 
training  that  the  physical  movements  express  aesthetically  the  dis- 
position of  the  soul. 

Hegel  says:  *^  My  body  is  the  medium  through  which  I  com- 
municate with  the  outward  world.  If  I  would  realize  my  inten- 
tion, I  must  make  myself  capable  of  rendering  this  subjectivity 
into  outward  objectivity.  My  body  is  not  naturally  fitted  for 
this;  it  conforms  only  to  the  physical  life.  The  organic  and 
physical  impulses  are  not  yet  the  results  of  the  promptings 
of  my  spirit.  My  body  must  first  be  trained  for  such  service." 
And  Dr.  Jacobs  expresses  the  idea  of  Greek  gymnastics  by  , 
saying  that  their  one  great  aim  was  to  secure  the  mastery  of 
mind  over  body,  and  represent  the  internal  harmony  in  the  in- 
ward and  outward  appearance. 

After  these  words  no  especial  proof  is  needed  to  show  that  the 
method  of  studying  certain  fixed  movements  for  this  or  that  sit- 
uation, this  or  that  sensation,  —  a  method  adopted  by  many 
teachers,  —  is  false  and  execrable.  It  should,  on  the  contrary, 
be  our  task  to  make  the  body  so  elastic,  so  strictly  subject  to  the  , 
will  by  correct,  regular,  and  varied  practice,  that,  if  we  would 
reproduce  a  sensation,  we  may  make  as  through  an  electric  shock, 
not  a  certain  or  fixed,  but  yet  an  appropriate  movement  of  the 
limbs;  for  varied  and  still  befitting  gestures  may  be  made  for  every 


viii  ^Esthetic  Physical  Culture. 

expression.  When  we  are  sure  that  the  movements  of  the  limbs 
are  round  and  pleasing,  we  can  safely  trust  ourselves  to  our  sen- 
sations, certain  that  these  will  be  truly  and  beautifully  expressed. 

Then  the  study  of  the  mimic  art  must  not  begin  until  this  point 
of  culture  has  been  reached  by  careful  study. 

Who  would  recommend  a  teacher  of  harmony  to  a  talented 
young  musician  before  he  can  play  well  upon  some  instrument  ? 
Who  would  mention  tactics  and  strategy  to  a  soldier  before  he 
has  learned  the  first  evolutions,  or  advise  the  art-student  to  em- 
ploy a  teacher  in  color  before  he  has  learned  to  draw  ?  The 
fundamental  elements  of  every  science  and  art  must  be  studied 
first,  and  the  basis  of  acting  is  gymnastics  —  not  in  the  strictly 
pedagogic  (physical)  sense,  but  gymnastics  with  strict  regard  to 
aesthetics  and  to  the  plastic  movements  of  the  body. 

The  reason  for  the  lack  of  such  a  basis  in  the  literature  of  this 
subject,  is  the  supposition  of  the  authors  that  first  principles  have 
been  acquired  in  youth,  and  before  the  student  began  to  prac- 
tice art.     But  this  is  a  false  supposition. 

Aside  from  the  fact  that  but  few  are  able  to  give  the  body 
gymnastic  culture  in  youth,  and  that  most  pursue  callings  apart 
from  such  culture  before  they  go  upon  the  stage,  —  aside  from  all 
this,  no  mere  pedagogic  physical  system  will  suffice  for  acting. 
A  system  of  gymnastics  written  for  the  health,  is  far  removed 
from  inculcating  charm  and  grace.  While  it  treats  of  the  limbs 
with  especial  reference  to  strength  and  movement,  aesthetic  gym- 
nastics demand  the  cultivation  of  the  limbs  to  a  harmonious 
whole,  exact  regard  for  aesthetic  personation,  and  that,  too,  in 
one  perfected  system. 

Esthetic  gymnastics,  therefore,  form  the  a,  b,  c  of  acting,  and 
without  them  a  knowledge  of  the  latter  art  is  no  more  possible  than 
to  learn  a  language  without  knowing  the  alphabet.  But,  as  with- 
out aesthetic  gymnastics,  acting  is  impossible,  so  there  can  be  no 
aesthetic  instruction  without  a  previous  course  of  physical  gym- 
nastics. And,  again,  a  knowledge  of  the  outlines  of  anatomy,  at 
least,  is  indispensable  to  the  correct  and  healthful   practice  of 


Preface  to  the  First  German  Edition.        ix 

gymnastics.  This  knowledge  of  the  art  of  acting  must,  then,  be 
preceded  by  some  acquaintance  with  human  anatomy  and  physi- 
ology, with  physical  and  aesthetic  gymnastics. 

Then  only  is  the  student  capable  of  grasping  the  principles  of 
acting.  We  say  the  principles,  for  more  than  these  we  regard  as 
superfluous  and  impracticable,  because  acting  is  the  outcome  of 
the  active  soul,  and  this  in  a  body  sesthetically  cultured,  finds  a 
right  way  of  itself. 

*^Who  can  undertake,"  says  Professor  Harless  in  his  excellent 
work  entitled  Plastic  Anatomy^  — "  who  can  undertake  to  ana- 
lyze and  reproduce  in  word  and  picture  for  the  use  of  the  artist,  the 
endless  number  of  movements  and  poses  which  we  assume  invol- 
untarily, or  to  which  an  inner  impulse  urges  us  with  mysterious 
power  ?  Only  one  way  remains,  but  that  suffices  for  the  true 
artist.  He  whose  heart  and  understanding,  guided  by  a  thorough 
culture  of  the  intellect,  are  in  a  condition  to  trace  out  the  pro- 
found emotions  of  the  soul-life,  to  search  sharply  into  the  mo- 
tives of  human  actions,  and  to  follow  sympathetically  the  experi- 
ences of  various  cultivated  men,  —  for  such  an  one  it  suffices  to 
know  those  various  and  easily  understood  views  and  proclivities 
which,  arising  within  the  mind,  now  in  this,  now  in  that  connec- 
tion, return  ever  and  ever  again  to  allow  themselves  to  be  ex- 
pressed in  pantomime." 

Hence  it  is  evident  that  a  work  which  assumes  the  task  of 
laying  down  rules  for  mental  activity  to  the  minutest  degree,  will 
prove  useless,  and  that  even  an  exposition  of  the  mere  principles 
of  the  mimic  art  will  bear  little  fruit  if  the  above-named  condi- 
tions of  previous  study  are  wanting. 

Long  years'  practice  of  the  dramatic  art,  as  well  as  of  physical  and 
aesthetic  gymnastics,  many  years  of  imparting  instruction  in  both, 
combined  with  profound  study  of  all  works  pertaining  to  the 
subject,  justify  me,  I  think,  in  attempting  to  write  such  a  work  for 
the  stage  and  for  the  public.  I  call  my  work  an  attempt,  but 
whether  it  will  be  more  than  this,  whether  it  will  be  as  kindly  re- 
ceived as  my  Gymnastics  of  the  Voice,  the  future  must  decide. 


X'  ^Esthetic  Physical  Culture. 

In  any  event,  the  student  will  recognize  in  my  work  a  most  pro- 
found devotion  to  a  calling  designed  to  cultivate  and  ennoble 
men.  As  in  my  Gymnastics  of  the  Voice,  I  have  only  given 
the  methods  of  forming  a  correct  tone,  and  of  correctly  articulat- 
ing the  alphabet,  (the  basis  of  the  arts  of  singing  and  rhetoric), — 
so  in  this  book  I  have  only  given  a  basis  to  the  works  already 
written  upon  the  mimic  art,  in  order  to  make  them  available  for  the 
actor,  and  set  forth  the  principles  of  the  aesthetic  culture  of  the  hu- 
man body.    If  I  succeed  in  this  effort,  I  shall  feel  myself  rewarded. 

An  acquaintance  with  dancing  and  fencing  being  indispensable 
to  physical  culture,  I  have  taken  up  the  principles  of  both  arts, 
and  besides  added  a  treatise  upon  the  laws  of  dress,  ending  with 
rules  for  social  life  in  its  everyday  walks  and  in  the  salon,  em- 
bodied in  a  special  chapter. 

Those  whose  youth  was  so  highly  favored  that  they  learned 
systematically  all  those  things  which  give  the  body  its  highest 
elasticity  and  strength  (such  as  wrestling,  swimming,  fencing, 
dancing,  riding,  gymnastic  exercises,  etc.),  will  find  my  book  of 
less  interest,  although  they,  too,  will  discover  many  things,  either 
entirely  new,  or  at  least  new  in  their  thoroughness.  Those  who 
belong  to  public  life^  but  had  no  opportunities  for  youthful  cul- 
ture, will  find  the  work  indispensable,  while  it  will  prove  useful 
to  people  in  private  life,  since  it  is  impossible  to  obtain  perfect 
mastery  of  the  limbs  without  systematic  practice,  and  to  avoid 
faults  in  movement  without  a  study  and  comprehension  of  the 
principles  of  gymnastics. 

Tyros  are  too  apt  to  think  that  with  a  few  years  practice  on  the 
stage,  ease  of  movement,  a  correct  action  of  the  limbs  and  all 
minor  accessories  will  come  of  themselves  As  well  might  the 
raw  recruit  who  goes  weighted  with  pack  and  knapsack  and  with- 
out preparatory  discipline  into  battle,  think  to  discharge  his  duty 
as  well  as  he  who  has  thoroughly  learned  the  military  tactics. 

The  wood-engravings  which  accompany  this  work  have  all  been 
drawn  from  nature  with  the  greatest  care  by  the  painter  Fratrel, 
in  accordance  with  instructions  and  illustrations  from  the  author. 


Preface  to  the  First  German  Edition.        xi 

Should  any  one  find  that  I  have  omitted  to  speak  on  subjects, 
especially  on  those  pertaining  to  the  domain  of  Esthetic  Gym- 
nastics, I  should  be  pleased  to  have  them  pointed  out  by  letter. 
I  will  gladly  answer  such  communications,  as  far  as  time  allows? 
and  will  treat  of  them  in  a  future  edition,  should  one  be 
granted  me. 

OSKAR    GUTTMANN, 

Manager  of  the  Stadt  Theatre. 
Hamburg  (Germany),  1865. 


PREFACE  TO  THE  SECOND  GERMAN  EDITION. 

•  ''  I  call  my  work  an  attempt,  but  whether  it  will  be  more  than 
this,  whether  it  will  be  as  kindly  received  as  my  Gymnastics  of 
the  Voice,  the  future  must  decide." 

With  these  words  I  sent  the  first  edition  of  this  book  out  into 
the  world.  It  was,  however,  received  with  extraordinary  favor. 
Critics  praised  it  and  leading  journals  gave  extended  notices  and 
testimonials.  This  was  proof  sufficient  that  Esthetic  Physical 
Cultiwe  supplied  a  want  and  was  a  necessary  work. 

Notwithstanding  this  unanimous  recognition  of  my  efforts,  I 
still  did  not  feel  satisfied.  I  knew  only  too  well  that  I  had  not 
attained  unto  what  I  had  striven  for  ;  yes,  indeed,  that  the  full 
realization  of  my  purpose  was  almost  an  impossibility,  as  the  sub- 
ject is  inexhaustible.  But  what  could  I  do  ?  At  that  time  I  no 
more  thought  of  a  second  edition  of  this  book  than  I  did  at  the 
first  edition  of  my  Gymnastics  of  the  Voice,  and  so  I  had  to  submit. 

But  it  turned  out  otherwise.  Notwithstanding  its  imperfec- 
tions, ^Esthetic  Physical  Culture  proved  such  a  useful  book  that 
a  second  edition  became  necessary.  I  undertook  the  revision 
with  all  the  heart,  with  all  the  love,  with  all  the  holy  earnestness 
with  which  I  had  devoted  my  whole  life  to  dramatic  art. 

The  whole  text  has  been  revised  and  rewritten.  Much  of  the 
first  edition  has  been  enlarged  upon  and  given  again  in  plainer 
terms.  Large  additions  of  new  material  have  been  made,  the 
result  of  constant  study  of  and  instruction  in  the  principles  and 
requirements  of  the  drama. 

Works  upon  the  mimic  art  abound,  and  it  would  be  difficult  to 
produce  anything  new  or  better  in  this  department  of  literature. 
But,  so  far  as  I  know,  nothing  similar  to  yEsthetic  Physical  Cul- 
ture exists, — a  book  that  in  a  rational,  scientific,  practical  manner 
gives  the  means  by  which  the  body  and  its  movements  can  be 
aesthetically  trained,  and  the  scholar  prepared  to  enter  upon  the 
study  of  the  mimic  art. 


Preface  to  the  Second  German  EDrnoN.     xiii 

Now  and  then  I  have  heard  it  remarked,  ''  The  study  of  the 
book  and  the  following  of  its  teachings  is  too  difficult !"  Much 
as  I  may  regret  it,  I  can  not  make  it  easier.  The  only  consola- 
tion I  find  is  in  the  words  of  Friederich  Spielhagen,  who,  in 
reviewing  my  book  in  the  Sonntagsblatt,  said  :  "  Those,  who 
l)elieve  they  can  accomplish  everything  through  talent  alone, 
without  study,  may  exclaim,  after  examining  the  book,  '  The 
obstacles  are  insurmountable  !'  and  make  no  further  attempt. 
Such  persons  would  do  well  to  abandon  the  dramatic  profession, 
for  energy  and  perseverance  are  qualities  indispensable  to  the 
artist." 

I  fully  agree  with  the  criticism  of  the  Hamburg  Reform^  viz., 
that  "  Part  Third  is  the  kernel  of  the  whole  book,  and  should  be 
studied  by  all  dramatic  and  oratorical  students,  not,  however, 
before  the  first  two  parts  have  been  thoroughly  mastered. 
Indeed,  it  is  a  carefully  graded  text-book  no  part  of  which  can 
be  omitted,  if  good  results  are  desired." 

So,  I  now  send  this  new,  improved  and  enlarged  edition  over 
the  ocean,  to  my  old  home,  among  the  ranks  of  those  who  are 
sincerely  striving  to  place  dramatic  instruction  upon  a  systematic, 
scientific  basis.  May  yEsthetic  Physical  Culture  contribute  its 
mite  to  that  end  ! 

I  take  leave  of  my  readers  in  quoting  the  words  used  by  Dr. 
Feodor  Wehl  in  concluding  his  review  of  the  first  edition  of  this 
book  : 

"  May  the  entire  dramatic  profession  and  all  other  persons  of 
artistic  vocations  or  natures  cordially  welcome  this  book.  By  so 
doing  they  will  themselves  be  benefited  and  also  promote 
dramatic  and  oratorical  art." 

The  Author. 

New  York,  1879. 


PREFACE  TO  THE  AMERICAN  EDITION. 

In  presenting  Esthetic  Physical  Culture  in  the  language 
of  my  adopted  country,  nothing  need  be  added  to  the  pre- 
ceding prefaces,  which  tell  the  story  of  the  book  and  explain 
its  scope.  I  can  only  wish  that  it  may  be  as  cordially 
received  by  the  American  public  as  it  was  in  my  native  land^ 
OSKAR   GUTTMANN, 

436  East  57th  St.,  New  York. 
1884. 


CONTENTS. 


PART  PIRST. 

ANATOMICAL  AND  PHYSIOLOGICAL  PRINCIPLES. 

THE  HUMAN  SKELETON. 

The  Bones  of  the  Head 4 

The  Torso 4 

The  Upper  Limbs 6 

The  Lower  Limbs 6 

THE  MUSCLES. 

The  Muscles  of  the  Head 12 

The  Muscles  of  the  Face 12 

The  Muscles  of  the  Torso 13 

The  Muscles  of  the  Upper  Limbs 13 

The  Muscles  of  the  Lower  Limbs 14 

THE  MECHANISM  OF  THE  LIMBS. 

The  Centre  of  Gravity 15 

The  Mechanism  of  the  Walking  Apparatus iS 

Walking  Forward '..... 22 

Walking  Backward 23 

PART  SECOND. 

PHYSICAL    GYMNASTICS. 

INTRODUCTION. 

Directions  for  Practice 27 

THE  SINGLE  MEMBERS— Simple  Exercises. 

Base  Position 3a 

Turning  the  Head  to  the  Right  and  Left 31 


XVI  CONTENTS. 

Bowing  of  the  Head  Forward,  Backward,  or  to  the  Right  and 

Left 31 

The  Head  Circle 31 

Shoulder  Movements 32 

The  Shoulder  Circle 33 

Rising  and  Falling  of  the  Hips 34 

Turning  or  Twisting  of  the  Trunk 34 

Inclination  of  the  Torso  Forward,  Backward,  Right  and  Left.  .  34 

The  Torso  Circle 35 

Elevating  the  Torso 35 

Arm   Exercises 36 

Arm  Exercises  with  Outstretched  Arms. 

Lifting  and  Moving  the  Arm 37 

The  Arm  Circle 37 

Turning  and  Revolving  the  Arms 37 

Balancing  and  Oblique  Movements 38 

Arm  Exercises  with  the  Aid  of  the  Elbow-Joints. 

Attraction  and  Repulsion , 39 

Movement  of  the  Arms  behind  the  Back 40 

Hand  and  Wrist  Practice. 

Finger-Stretching  and  Spreading 41 

Leg  and  Foot  Practice. 

Exercise  with  Stretched  Leg — Leg  Swinging 42 

The  Leg  Circle,  Forward  and  Backward 43 

The  Flexion  and  Extension  of  the  Knee  Backward 43 

The  Flexion  and  Extension  of  the  Knee  Forward. 43 

Strengthening  of  the  Muscles  of  the  Legs 44 

Foot  Extension 45 

Foot  Extension,  Flexion  and  Circling 46 

THE  LIMBS  AS  A  WHOLE— Complex  Exercises. 

Exercises  for  the  Upper  Part  of  the  Body. 47 

Exercises  for  the  Legs  and  Feet — The   "  Leg  Circle  " 50 

Exercises  for  the  Upper  Body,  Legs  and  Feet 51 

PART  THIRD. 

ESTHETIC   GYMNASTICS. 

INTRODUCTION. 
THE  PLASTIC  ART. 

The  Human  Body  and  its  Limbs 58 


CONTENTS.  xvii 

The  Limbs  vSingly,  in  a  State  of  Rest 58- 

Movement  of  the  Arms  and  Hands 62 

Movements. 

Walking  in  General 73  '^ 

The  Walking  of  Ladies  with  Trains. 73 

The  Lifting  of  a  Lady's  Dress  in  Walking 75 

Turning  to  the  Right  or  Left  in  Walking. .  .*. 75  -" 

Turning  to  the  Right  or  Left  While  Standing 75    " 

Walking  Sideward 75, 

Stepping  Sideward  With  Bowing 76 

Turning  Round  in  Walking 76  ^ 

Turning  Round  While  Standing 77 

Turning  in  the  Case  of  Women 77 

Carriage  of  the  Arms  in  Walking 78' 

The  Opening  of  a  Door 78 

The  Entrance  of  a  Servant 79. 

The  Setting  of  a  Chair  for  One's  Self  or  for  Others 79 

Seating  One's  Self  upon  a  Chair  already  Placed 8o> 

Kneeling 82 

Lifting  Something  from  the  Floor 84 

Falling  upon  the  Stage 84 

The  Holding  of  the  Hat 85 

The  Carrying  of  the  Fan 86 

The  Carrying  of  a  Cane 87 

The  Use  of  the  Handkerchief 88 

The   Hand-Kiss 89 

Fundamental  Rules  for  Position  if  Several  Persons  are  on  the 

Stage 90 

Position  of  Subordinates 92 

THE  MIMIC  ART. 
Play  of  Features. 

General  Remarks 93 

The  Eyes 94 

The  Mouth 95 

Main  Elements  of  Facial  Expression 7 

General  Physiognomical  Remarks. 

The  Cheeks 103 

The  Lips 103 

The  Chin 103 


xvili  CONTENTS. 

GESTURE. 

The  Single  Limbs  in  Relation  to  Gesture. 

The  Head 104 

The  Arms  and  Hands  in  General , 106 

Main  Principles  of  the  Position  of  the  Hand  in  Acting 109 

The  Torso iii 

The  Legs  and  Feet 112 

Walking  in  Acting 114 

Characteristic  Tokens  of  Several  Kinds  of  Gait 115 

The  Limbs  in  Harmonious  Action. 

The  Divisions  of  Gesture 117 

The  Fundamental  Rules  for  Correct  Action  of   the  Limbs  in 

Gesture 119 

The  Use  of  the  Left  and  Right  Hand 122 

Greeting,  Prayer,  Oath 123 

Salutations  of  the  Hebrews 124 

The  Moslem  .  Salutation 125 

Chinese  Salutations 127 

Salutations  of  the  Hindoos,  Greeks  and  Romans 128 

Salutation,  Oath  and  Prayer  of  Modern  Times  According  to  the 

European  Fashion  among  Civilized  People 129 

Various  Faulty  Gestures  and  their  Correction. 

Drinking 130 

The  Holding  of  a  Cup  of  Coffee  or  'lea 131 

Pantomimic  Reading  and* Letter  Writing 131 

Turning  the  Leaves  of  a  Book 133 

Use  of  a  Pencil 133 

Practical  Exercises  for  Pupils 133 

PART  FOURTH. 

THE   ART    OF    DANCING. 

THE  ART  OF  DANCING. 

Carriage  of  the  Body 139 

Fundamental  Positions  and  Movements 140 

The  Position  of  the  Feet 140 

The  Position  of  the  Arms 142 

Exercises  Preliminary  to  the  Dance 144 

Single   Movements  of   the  Feet  through   which    the   Dancing 

Steps  are  Rendered  Possible 147 


CONTENTS.  xix 

Elementary  Dancing  Steps 147 

Composite  Independent  Steps 150 

The  Minuet  as  a  School  for  Compliments ...  151 

Compliment — Reverence. 

The  Compliment  of  Ancient  Times 152 

The  Mediaeval  Compliment 152 

The  Compliment  of  the  17th  and  i8th  Centuries 153 

The  Great  Reverence  for  Gentlemen 154 

The  Great  Reverence  for  Ladies 156 

The  Little  Reverence  for  Gentlemen 158 

The  Little  Reverence  for  Ladies 159 

Reverence  before  Several  Persons  Standing  in  a  Half-Circle. ,  .  160 
The  Little  Reverence  upon  Arrival  and  at  Departure,  also  at 

Meeting  in  Walking,  for  Gentlemen  and  for  Ladies. .    161-162 

The  Modem  Compliment 163 

PART  FIFTH. 

THE    ART    OF    FENCING. 

THE  ART  OF  FENCING. 

The  Foil 169 

The  Measure.  * 169 

Place  and  Position • 170 

First  Position 170 

Second  Position 171 

Attitude  of  the  Hand 172 

The  Foot  Movement 174 

The  Primary  Thrust 176 

The  Secondary  Thrust 177 

Simple  Parades 178 

Counter-Parades 178 

The  Degagement 179 

The  Double 179 

The  Coupe 1 79 

Compliment  of  Arms 179 

General  Advice 181 


XX  CONTENTS. 

PART   SIXTH. 

MAIN    PRINCIPLES    OF    DRESS. 

MAIN  PRINCIPLES  OF  DRESS. 

Women's  Dress 185, ' 

Men's  Dress 18& 

Combination  of  Colors 191 

PART   SEVENTH. 

APPLICATION    OF    THE    RULES    TO    COMMON    LIFE, 
THE    SALON    AND    THE    STAGE. 

APPLICATION  OF  THE  RULES. 

What  is  Decorum  ?....... 197 

Politeness  and  Modesty 198 

Deportment  toward  Ladies 202 

Deportment  in  Large  Companies 203 

Deportment  at  a  Ball 205, 

Deportment  at  Table 208 

Deportment  at  the  Theatre  or  Concert 210 

The  Visit  of  Ceremony 211 

Audience  with  Princes 212 

The  Manner  of  Studying  this  Book  without  a  Teacher 213 


PART  FIRST. 


ANATOMICAL  AND  PHYSIOLOGICAL  PRINCIPLES. 

"The  thought  originates  in  the  brain,  the  brain  acts  upon  the  nerves,  the 
nerves  upon  the  muscles,  the  muscles  upon  the  bones,  and  not  until  after  this 
process  is  it  possible  for  us  to  undertake  any  action." 

Guttmann's  "  Gymnastics  of  the  Voice." 


^^   OP"  THR        • 


fUNIVBESITY) 
CHAPTER  I.     S^JFOE"^^ 


THE    HUMAN   SKELETON. 

The  skeleton  of  the  human  body  is  composed  of  bones  and 
cartilages,  united  by  flexible  cords,  and  forming  a  movable  appa- 
ratus which  can  be  set  in  action  by  the  muscles.  The  peculiar 
articulation  of  the  bones  gives  rise  to  cavities  within  the  skeleton 
(the  cavities  of  the  head,  brain,  chest,  abdomen  and  pelvis),  in 
which  the  various  internal  organs,  designed  partly  for  nourish- 
ment and  partly  for  mental  activity,  have  their  seat.  All  these 
parts  are  permeated  by  greater  or  smaller  veins,  and  by  white 
fibres  :  the  former,  the  arteries,  carry  the  blood  from  the  heart 
through  the  body,  and  again  back  to  the  heart  ;  and  the  latter, 
the  white  fibres  or  nerves,  bind  the  different  parts  of  the  body 
into  one  harmonious  whole.  They  proceed  from  the  brain  and 
the  spinal  marrow,  and,  excited  by  outward  or  inward  impulse, 
cause  motion,  sensation,  and  intellectual  activity.  As  long  as 
man  lives,  a  constant  change  is  going  on  in  the  particles  which 
compose  his  body,  and  this  forces  him  to  take  the  necessary  food. 

Physical  gymnastics  teach  the  laws  through  whose  observance 
this  change  may  go  on  regularly  and  advantageously.  The  office 
of  cesthetic  gymnastics  is  to  make  the  limbs  appear  graceful  and 
pleasing  in  accordance  with  cesthetic  laws. 

The  greater  divisions  of  the  human  body  are  the  head,  trunk 
and  limbs.  The  head,  the  upper  and  most  "important  part,  is  mov- 
ably  set  upon  the  neck,  and  contains  the  brain  in  its  upper  half, 
while  its  lower  half  forms  the  face,  with  cavities  for  the  organs  of 
the  senses.  The  trunk  or  torso  is  divided  into  four  parts,  —  the 
neck,  the  chest,  the  abdomen  and  pelvis,  and  has  its  support  in 
the  spinal  column.     The  front  of  the  neck  contains  the  organs  of 


4  ESTHETIC    PHYSICAL   CULTURE. 

the  voice,  and  the  air  and  food  tubes.  The  chest  contains  the 
breathing  apparatus  and  the  heart.  The  abdomen  and  pelvis 
contain  the  sustaining,  and  reproductive  organs.  The  Hmbs, 
which  enclose  no  vital  organ,  are  bordered  with  muscles,  and 
may  be  divided  into  two  groups  :  The  uppei-  limbs,  the  arms, 
which  consist  of  the  shoulder,  the  upper  arm,  and  the  lower 
arm  and  hand,  are  joined  to  the  chest  by  ligaments,  while  the 
lower  limbs,  the  legs  —  consisting  of  the  upper  and  lower  leg 
and  the  foot,  —  are  joined  by  ligaments  to  the  pelvis. 
The  single  bones  of  these  main  groups  are  : 

I.    The  Bones  of  the  Head 
Consisting  of  the  skull  and  the  face.     The  skull  is  composed  of 
eight  bones,  firmly  and  elaborately  united  ;  the  face  of  fourteen 
bones,  only  one  of  which,  the  lower  jaw,  is  movable,  while  the 
upper  bones,  like  those  of  the  skull,  are  bound  strongly  together. 

2.  The  Torso. 
This  has  its  main  support  in  the  backbone  or  spinal  column. 
It  consists  of  twenty-six  single  bones.  The  seven  upper  ones 
(Fig.  I.,  1-7)  are  the  bones  of  the  neck  ;  the  next  twelve  (8-20) 
are  the  breast  and  backbones;  and  the  five  lower  ones  (21-26) 
belong  to  the  abdomen  and  loins,  and  unite  with  the  os  sacrum 
(26)  and  coccyx  (27),  which  form  the  terminal  extremity  of  the 
spinal  column.  On  each  side  of  the  twelve  breastbones,  and 
united  with  them,  stand  twelve  rib-bones  (8-19),  which  are  in 
turn  joined  by  tendons  to  the  breastbone  (28).  In  this  way 
is  formed  the  chest-cavity  which  contains  those  important  or- 
gans, the  heart  and  lungs.  By  means  of  muscles  fastened  to 
these  bones,  the  chest-cavity  may  be  expanded  or  contracted, 
whereby  the  breathing  process  is  mainly  carried  on.  Upon 
each  side  of  the  sacrum  (29-30)  lies  a  bone  of  the  pelvis,  whose 
upper  surface  is  called  the  hip-bone.  The  pelvis-cavity  is  com- 
posed of  four  bones,  —  the  two  innominata,  the  sacrum  and  the 
coccyx,     The  abdominal  cavity  lies  between  that  of  the  pelvis 


THE    HUMAN    SKELETON. 


Fig.  I. 


6  ESTHETIC    PHYSICAL   CULTURE. 

and  the  chest,  and  is  the  seat  of  the  greater  portion  of  the  digest- 
ive organs. 

J.  The  Upper  Limbs ^  or  the  Anns. 
These  consist  of  the  shoulder,  the  shoulder-joint,  the  humerus 
or  upper  arm,  the  lower  arm  and  the  hand.  The  hand  consists 
of  the  wrist,  the  palm  and  the  fingers.  The  shoulder-bones 
consist  of  the  two  clavicles,  or  collar-bones  (31)  and  the  shoulder- 
blades  (32).  The  first  extend  from  the  breastbone  to  the  shoul- 
der-joint ;  the  latter  lie  along  the  back,  connecting  with  the 
clavicles  and  bones  of  the  upper  arms,  and  forming  the-shoulder- 
joints.  By  means  of  the  clavicles,  which,  as  we  have  said,  connect 
the  bones  of  the  humerus  with  the  torso,  the  shoulder-joint  is  held 
at  the  required  distance  from  the  torso,  and  the  arms  receive  the 
necessar}'  freedom  in  their  movements.  The  bone  of  the  upper 
arm  (33),  which  is  joined  to  the  shoulder-blade  and  to  the  two 
bones  of  the  lower  arm,  helps  in  this  way  to  form  the  shoulder 
and  elbow-joint.  The  lower  arm  has  two  bones,  the  radius  (34) 
and  the  ulna  (35).  The  junction  of  the  upper  and  lower  arm 
forms  the  elbow-joint  (36).  'J'he  wrist  is  composed  of  eight  bones, 
ranged  in  two  rows,  and  bound  firmly  together.  The  five  bones 
of  the  metacarpus,  or  middle  hand,  articulate  with  the  second 
range  of  carpal  bones  (39).  The  four  fingers  and  the  thumb  ar- 
ticulate with  these  five  metacarpal  bones,  the  thumb  having  two 
joints  and  the  fingers  three,  the  first  of  which  is  the  largest  (40), 
the  lower  (41)  being  called  the  nail-joint. 

4.  The  Lower  Limbs^  or  the  Legs 
Consist  of  the  upper  leg,  the  lower  leg  and  the  foot.  The  upper 
leg,  like  the  upper  arm,  has  but  one  bone,  the  femur  (42). 
At  its  top  there  is  a  ball-shaped  joint  (43)  which  fits  into  the 
socket  of  the  pelvis,  and  forms  the  hip-joint.  At  its  lower  end 
it  connects  with  the  shin-bone  and  the  knee-pan,  forming  the  knee- 
joint  (44).  The  knee-pan  (45  a)  is  a  heart-shaped  bone  which 
covers  the  front  part  of  the  cavity  of  the  knee-joint,  and  is  at- 
tached to  the  bones  of  both  the  upper  and  lower  leg. 


THE   HUMAN   SKELETON.  7 

The  lower  leg,  like  the  lower  arm,  consists  of  two  bones,  the 
tibia  (45  /;)  and  the  fibula  (46).  The  first  is  much  larger  than 
the  second.  At  the  lower  end  of  these  bones  (47)  are  joints 
connecting  them  with  the  foot,  which,  like  the  hand,  consists 
of  three  parts  :  The  tarsus,  the  metatarsus  and  the  toes.  The 
tarsus  consists  of  seven  bones  (48-52)  ;  the  metatarsus  of  five 
(53j  54)>  articulating  at  one  extremity  with  the  tarsal  bones,  and 
at  the  other  with  the  first  range  of  toe-bones,  and  so  united  as  to 
give  the  foot  a  convex  form,  and  conduce  to  the  elasticity  of  the 
step.  The  four  smaller  toes,  like  the  fingers,  have  three  joints, 
while  the  great  toe,  like  the  thumb,  has  two  joints. 

After  this  condensed  description  of  the  bones  we  pass  on  to  the 
muscles,  which  are  of  more  importance. 


CHAPTER  II. 
THE     MUSCLES. 

Who  has  not  been  entranced  by  some  melodious,  prolonged 
strain  of  music,  by  pearl-like  purity  of  colorature  ?  Who  has  not 
been  surprised  at  the  sylph-like  motions  of  a  danseuse^  or  the 
grotesque  springs  of  a  dancer  ?  And  yet  few  have  been  conscious 
wherein  lay  the  mystery  of  all  this.  It  is,  in  fact,  due  to  a  har- 
monious action  of  the  muscles.  All  movements  of  the  human 
body  are  made  by  means  of  the  muscles,  which  are  fastened  to 
the  movable  bones  of  the  skeleton,  and  are  thrown  into  action  by 
the  nerves. 

No  harmonious  viovement  is  possible  without  a  correct  action  of 
the  muscles. 

We  believe,  therefore,  that  it  may  be  said  truthfully  that  a 
knowledge  of  the  structure  and  peculiarities  of  the  muscles,  of 
the  laws  of  their  training  and  preservation,  is  the  all-important 
thing  if  we  would  do  artistic  work,  if  we  would  be  graceful  in  our 
actions  in  life.  The  muscles  consist  of  a  web  of  tendons  and 
sinews  which  possess  the  capability  of  contraction  and  expansion. 
The  contraction  of  a  muscle  is  followed  by  a  state  of  relaxation 
(repose),  either  voluntarily  or  resulting  from  weariness,  in  which 
state  of  repose  nourishment  is  better  carried  on,  as  in  a  state  of 
contraction  there  is  greater  consumption  of  blood  and  nervous 
strength. 

By  gradually-increasing  and  oft-repeated  exercise,  by  proper 
nourishment,  by  a  flesh  diet,  the  muscles  gain  incredibly  in  size 
and  strength,  and  obtain  their  full  development,  while  they  are 
rendered  weak  and  lax  by  inactivity  and  the  lack  of  good  food. 

Gymnasts,  dancers  and  piano-players  attest  the  truth  of  this  as- 


THE   MUSCLES. 


lO  ESTHETIC    PHYSICAL   CULTURE. 

sertion.  Singers,  who  produce  such  wonderful  effects  with  those 
small  muscles  of  the  larynx,  have  brought  those  muscles  to  this 
degree  of  perfection  by  the  right  kind  of  practice,  ever  increasing 
in  vigorous  effort,  and  followed  by  intervals  of  repose. 

As  an  increased  consumption  of  blood  follows  contraction  of 
the  muscles,  so,  in  the  state  of  repose  resulting  from  the  cessation 
of  this  contraction,  an  increased  formation  of  •blood  takes  place  ; 
therefore  it  is  self-evident  that  a  muscle  acting  in  steady  alterna- 
tions becomes  far  stronger,  and  less  easily  fatigued,  than  one 
whose  activity  is  constant  or  long  continued. 

Standing,  for  this  reason,  is  more  fatiguing  than  walking  for  the 
same  length  of  time.  Paralysis  of  the  muscles  may  be  brought 
on  by  too  great  or  too  prolonged  exertion.  Nothing  but  a  per- 
sistent exercise  of  the  muscles,  with  alternations  of  the  needed 
repose,  will  at  last  fit  them  to  make  any  movement  the  will 
ordains.  In  the  early  stages  of  practice  this  is  impossible,  and  in 
the  use  of  certain  muscles  one  cannot  guard  against  moving 
others  with  them.  Beginners  in  gymnastics,  dancing,  fencing, 
etc.,  are  almost  incapable  of  keeping  inactive  the  muscles  that  are 
not  required. 

The  erroneous  belief  obtains  with  many  that  the  mind  only 
need  be  cultivated,  and  all  other  culture  will  follow.  But  the 
thought  originates  in  the  brain,  the  brain  acts  upon  the  nerves, 
the  nerves  upon  the  muscles,  the  muscles  upon  the  bones,  and 
only  after  all  these  processes  is  physical  action  possible.  What 
avails  the  most  intellectual  letter  if  there  is  no  messenger  to  con- 
vey it  to  the  desired  place  ?  This  is  the  office  of  physical  gym- 
nastics. 

It  is  only  after  long  practice  that. the  will  alone  may  be  relied 
on  to  set  the  required  muscles  in  motion.  All  who  would  perform 
to  acceptance  before  the  public,  must  attain  the  greatest  skill  in 
this  respect. 

After  these  brief  remarks  upon  the  muscles  in  general,  we  pro- 
ceed to  a  description  of  them  in  detail.  They  may  be  divided 
into  two  classes.,  viz.,  the  voluntary  and  the  involuntary  muscles. 


THE  MUSCLES. 


II 


Fig.  III. 


12  .-ESTHETIC    PHYSICAL   CULTURE. 

To  the  second  class  belong  the  hearty  the  diaphragm^  and  the 
viuscles  of  the  intestines.  All  the  others  belong  to  the  first  class. 
We  distinguish  {a)  the  muscles  of  the  head,  {b)  the  muscles  of  the 
torso,  (c)  the  muscles  of  the  upper  limbs,  and  {ii)  the  muscles 
of  the  lower  limbs. 

The  Muscles  of  the  Head. 
The    muscle   of    the   cranium    (musculus    epicranius),    whose 
front  part  is  called  the  forehead  muscle  (musculus  frontalis),  and 
has  an  important  part  in  acting  as  its  office,  is  to  elevate  and 
lower  the  forehead,  as  well  as  to  control  the  eyebrows,  and  also 

The  Muscles  of  the  Face. 

These,  by  means  of  the  facial  nerve,  which  controls  all  these 
muscles,  are  closely  connected  with  the  brain,  and  for  this  reason 
strong  impressions  upon  the  brain,  or  diseases  of  that  organ,  have 
great  influence  upon  the  muscles  of  the  face.  They  are  the 
means  of  expressing  sensations  and  passions,  and  effect  the  play 
of  the  features.  Sad  and  painful  emotions  generally  contract 
the  muscles  of  the  mouth,  eyes  and  forehead,  and  draw  them 
downward.  Joyous  emotions,  into  which  the  cheek  muscles  also 
enter,  draw  them  ttpward. 

In  Figures  IL  and  II L  the  muscles  are  designated  by  numbers 
as  follows  : 

1.  The  skull  and  forehead  muscle. 

2.  The  face  muscles. 

3.  The  throat  muscles. 

4.  The  neck  muscles. 

5.  The  chest  muscles. 

6.  The  back  muscles. 

7.  The  abdominal  muscles. 

8.  The  pelvis  muscles. 

9.  The  shoulder-blade  muscles. 

10.  The  deltoid  muscle. 

11.  The  upper-arm  muscles. 


THE   MUSCLES.  1 3 

12.  The  fore-arm  muscles. 

13.  The  hand  muscles. 

14.  The  upper-leg  muscles. 

15.  The  lower-leg  muscles. 

16.  The  muscles  of  the  calf  of  the  leg. 

17.  The  tendon  of  Achilles. 

18.  The  foot  muscles. 

The  Muscles  of  the  Torso. 
These  are  the  muscles  of  the  throat,  neck,  chest,  back,  abdo- 
men and  pelvis.  The  throat  and  neck  muscles  (Fig.  III.,  4) 
move  the  head  forward,  backward  and  sideways,  turning  and 
stretching  it.  The  muscles  on  the  inside  of  the  throat,  which 
rule  the  larynx,  demand  a  special  exposition  that  will  not  be  given 
here,  as  it  belongs  to  the  domain  of  singing  and  rhetoric.  The 
breast  muscles  (Fig.  II.,  5),  leaving  the  breastbone  uncovered, 
lie  around  the  whole  cavity  of  the  chest,  and  have  the  important 
function  of  regulating  the  breathing,  as  well  as  moving  the  shoul- 
ders and  arms.  The  muscle  which  separate  the  abdominal 
cavity  from  that  of  the  chest,  performs  the  main  function  in 
breathing,  and  also  serves  for  contracting  the  chest-cavity,  is 
called  the  diaphragm,  and  must  have  its  special  description  in 
the  study  of  singing  and  speech.  The  spinal  muscles  (Fig.  III., 
6)  serve  to  hold  erect,  bend  and  extend  the  whole  torso  ;  they 
move  the  shoulders  and  upper  arms,  and  assist  in  breathing. 
The  important  office  of  the  abdominal  muscles  is  to  protect  and 
sustain  the  organs  of  the  abdomen  (intestines).  It  is  to  be  espec- 
ially noted  that,  if  these  muscles  have  to  perform  an  arduous 
work,-  or  to  remain  a  long  time  in  a  tense  position,  they  must  be 
contracted,  or  else  injury  to  the  person  will  result.  The  abdom- 
inal muscles  extend  from  the  lower  part  of  the  cavity  of  the  chest 
to  the  pelvis,  and  form  the  front  and  side  walls  of  the  abdomen. 

The  Muscles  of  the  Upper  Limbs. 
These  may  be  divided  into  the  following  groups  :  — 
I.  The  muscles  of  the  shoulder  extend  from  the  clavicle  (col- 


14  ESTHETIC    PHYSICAL   CULTURE. 

lar-bone)  and  the  shoulder-blade  to  the  upper  arm,  and  move  it 
in  all  directions.  The  strongest  of  them  is  called  the  deltoid 
muscle  (Fig.  III.,  lo). 

2.  The  muscles  of  the  upper  arm  (Fig.  III.,  9,  and  Fig.  II.,  11) 
lie  partly  upon  the  inner  and  partly  upon  the  outer  side  of  the 
hurnerus,  and  serve  to  bend  or  stretch  the  fore-arm. 

3.  The  muscles  of  the  fore-arm  (Fig.  IIL,  12)  move  the  hand 
and  fingers  inward  and  outward,  bending  or  stretching,  with- 
drawing or  extending  them.  The  hand  muscles  lie  in  the  hand, 
especially  at  the  first  and  fifth  joints  of  the  metacarpus  (Fig.  II., 
13)- 

The  Muscles  of  the  Loiver  Limbs. 

These  comprise  (i)  the  muscles  of  the  lower  leg  and  foot,  and 
(2)  those  of  the  upper  leg.  The  muscles  of  the  upper  leg  (Fig. 
III.,  14)  serve  for  stretching  aild  bending  the  knee-joint,  and  for 
drawing  the  leg  backward  and  forward.  The  tendons,  which 
draw  it  forward,  lie  in  front  ;  those  which  draw  it  backward  lie 
behind.  The  tendons  of  the  foot  and  the  toes  (15)  are  on 
the  back  surface  of  the  lower  leg,  forming  the  calf  of  the  leg 
(Fig.  III.,  16).  They  are  peculiarly  important  in  walking  and 
dancing.  The  lower  end  of  the  tendon,  which  is  attached  to  the 
top  of  the  heel-bone,  is  called,  on  account  of  its  strength,  the 
'' tendon  of  Achilles"  (Fig.  III.,  17).  The  dilating  muscles  of 
the  foot  lie  upon  its  upper  surface  (Fig.  II.,  18)  ;  those  which 
dilate  and  contract  the  toes  are  in  the  sole  or  lower  part. 

All  the  mentioned  muscles  of  the  first  group  may  be  moved 
voluntarily,  and  acquire  incredible  facility  through  practice.  We 
shall  learn  in  the  course  of  our  studies  of  physical  gymnastics  how 
many  sorts  of  these  voluntary  movements  there  are. 


fUNIVBRSITT 


CHAPTER  III. 

THE   MECHANISM    OF   THE    LIMBS. 

The  limbs  of  the  human  body  move  in  accordance  with  the  law 
of  the  lever.  It  is  not  necessary  to  our  purpose  to  explain  this 
law,  and  we  need  offer  no  further  explanation  of  the  arms  than 
that  already  given  in  our  description  of  the  muscles.  It  is  quite 
otherwise  with  the  lower  limbs,  which  are  governed  by  spec- 
ial laws  relating  to  the  centre  of  gravity.  If  these  laws  are  not 
strictly  follow^ed,  good  walking  is  impossible.  We  must,  there- 
fore, dwell  upon  them,  first  treating  of 

The  Centre  of  Gravity. 

The  relations  of  the  centre  of  gravity  to  the  base,  decide 
whether  the  body  stands  or  falls.  As  every  single  part  remains 
subject  to  the  laws  of  gravity,  it  will  always  be  attracted  to  the 
earth's  centre.  If  a  mass  consists  of  unlike  and  variously-formed 
pieces,  each  of  these  will,  as  far  as  possible,  set  its  gravitating  force 
into  action.  These  opposing  influences  must,  therefore,  unite  in 
such  a  way  that  their  several  actions  meet  at  an  imaginary  point 
—  the  centre  of  gravity.  The  whole  body  will  then  poise  itself 
as  if  its  weight  were  accumulated  at  this  place.  A  direct  line 
from  this  point  to  the  base,  therefore,  designates  its  further  rela- 
tions. If  this  line  meets  the  base,  the  body  stands  ;  if  it  extends 
beyond  the  base,  the  body  falls.  All  the  movements  of  men  and 
animals  obey  this  law,  but  the  centre  of  gravity  varies  with  the 
different  positions  assumed  by  the  single  limbs. 

If  a  grown  man  lie  with  his  limbs  extended  in  a  horizontal  po- 
sition, his  arms  resting  symmetrically  upon  the  lower  part  of  the 
body,  his  centre  of  gravity  will  be  at  the  region  of  the  last  lum- 


i6 


.ESTHETIC   PHYSICAL   CULTURE. 


bar  vertebra.  If  he  sits,  the  pelvis  with  its  side  muscles  forms  a 
base  proportionally  extended.  He  can  then  give  the  upper  part 
of  the  body  a  wide  range  without  danger  of  falling.  A  too  weak 
or  too  narrow  base  involves  a  loss  of  equilibrium. 

If  the  man  stands  still,  the  outer  outlines  of  the  feet  form  a 
base  inside  of  which  the  line  of  gravity  may  fall.  But  there  is 
much  less  security  here  than  in  sitting  or  lying  down.  The  nar- 
rower the  base,  the  more  liable  one  is  to  fall.  For  this  reason,  to 
stand  on  tip-toe  on  a  narrow  board  or  rope  is  unsafe.     If  one  leg 


Fig.  IV. 


swings  in  the  air,  this  lessens  the  base,  and  makes  the  position 
more  insecure  for  this  and  also  for  other  reasons.  That  part  of  the 
body  represented  by  the  raised  leg,  draws  the  mass  to  itself,  and 
easily  carries  it  along.     One,  therefore,  instinctively  bends  the  up- 


THE    MECHANISM    OF   THE    LIMBS.  1/ 

per  part  of  the  body  to  the  opposite  side.  People  with  one  foot 
shorter  than  the  other,  on  this  account,  often  stand  obHquely.  If 
a  leg  is  missing,  this  only  adds  to  the  disadvantage,  because  the 
centre  of  gravity  is  raised  higher.  Other  thing3  being  equal,  a 
body  rests  more  firmly  the  nearer  its  centre  of  gravity  lies  to  the 
base.     For  this  reason,  sitting  is  safer  than  standing. 

If  a  man  stands  erect,  and  with  feet  close  together,  the  line  of 
gravity  falls  between  the  ball  of  the  foot  and  the  heel  (Fig.  IV., 
S  a).  If  the  body  bends  a  little  backward,  the  line  of  gravity 
falls  at  the  end  of  the  heel  (S  c).  If  the  body  bends  forward, 
it  falls  between  the  toes  (S  /?).  The  body  standing  in  a  straight 
line  cannot  bend  beyond  these  two  points  without  falling. 

The  line  of  gravity,  as  we  have  just  seen,  must  always  fall  upon 
a  point  of  the  base  on  which  the  body  stands  ;  for  instance,  the 
man  stands  erect,  with  the  feet  sideways,  and  a  step  apart  :  in 
this  case,  the  centre  of  gravity  falls  right  in  the  middle  of  the 


Fig.  V. 

base  on  which  he  stands,  equidistant  from  each  foot.  If  he  would 
now  stand  upon  one  leg,  this  involves  a  change  in  the  line  of 
gravity,  which  is  removed  to  a  point  under  the  sole  of  the  foot 
upon  which  he  stands. 

Poses  of  the  body  in  which  the  line  of  gravity  is  not  quite 


ESTHETIC   PHYSICAL   CULTURE. 


direct,  may  be  made  through  various  tensions  of  the  muscles,  but 
these  are  unnatural,  awkward  and  un^sthetic,  and  should  enter 
into  neither  the  plastic  nor  the  dramatic  arts. 

The  Mechanism  of  the  Walking  Apparatus. 
Walking  depends  upon  a  steady  forward  movement  of  the  torso 
over  the  ground  through  a  periodically  repeated  action  of  the 
legs,  which  so  relieve  each  other  that  one  alone  causes  the  for- 
ward motion,  the  other,  meanwhile,  being  carried  along.  The 
space  in  which  one  leg  after  the  other  finds  itself  in  this  position, 
embraces  exactly  two  steps.  The  leg  bears  the  body  forward  .by 
the  tension  of  one  or  more  of  its  previously-bent  joints  (Fig.  V.). 


Fig.  VL 

The  leg  that  is  carried  forward  while  the  other  remains  pendent, 
swings  past  the  other,  carried  onward  by  its  own  weight  alone, 
around  the  point  of  junction  with  the  torso  (Fig.  VL).  The 
rapidity  of  this  swinging  motion,  Irke  that  of  the  pendulum  of  a 
clock,  depends  upon  the  length  of  the  leg,  which  also  has  much 
influence  upon  the  duration  of  a  step.  All  persons  —  children 
and  grown  people  —  move  in  a  tempo  proportioned  to  the  length 
of  the  legs. 

In  ordinary  walking,  the  beginning  of  the  extension  occurs  at 
the  same  moment  in  which  the  centre  point  of  the  socket  has  just 


THE    MECHANISM    OF   THE    LIMBS.  I9 

passed  the  point  of  support  of  the  foot.  One  moment  previous, 
when  the  one  stood  vertically  over  the  other,  the  leg  had  acquired 
its  utmost  limit  of  flexion  (Fig.  VII.). 


Fig.  VII. 

The  legs,  like  the  other  Hmbs,  can  be  moved  forward  by  the 
strength  of  .the  muscles  more  rapidly  than  if  impelled  by  their 
own  weight;  but  this  demands  so  constant  and  energetic  an  exer- 
tion of  the  muscles,  that  a  gait  so  unnatural  cannot  long  be  main- 
tained. 

From  the  moment  when  the  foot  is  placed  in  position,  and  its 
joints  begin  to  bend,  until  the  moment  when  the  socket  of  the 
upper  leg  stands  directly  over  its  point  of  support,  the  leg  sus- 
tains the  body  through  the  strength  of  its  muscles  without  moving 
it  forward  ;  for  the  other  leg  can  no  longer  restrain  the  downward 
movement  of  the  body  caused  by  its  extension.  This,  therefore, 
begins  the  shortening  of  its  motor  muscle,  through  which  it  not 
merely  secures  a  descent  of  the  body  around  the  axis  of  the  footr 
joint,  but  at  the  same  time,  moves  the'centre  of  gravity  forward- 
in  a  more  horizontal  line  (Fig,  VIII.). 

In  the  course  of  this  movement  the  centre  of  gravity  moves  for- 
ward gradually  from  the  back  part  of  the  heel.  Until  it  reaches 
the  ends  of  the  toes,  the  points  of  support  are  successively  at 


20 


.ESTHETIC    PHYSICAL   CULTURE. 


Other  parts  of  the  sole,  l^ese  move  forward  in  the  same  manner 
until  the  heel  is  at  last  raised  from  the  ground,  the  foot  stands 
upon  its  toes,  and  its  pendulum-like  swinging  begins.  Meantime 
the  sole  is  gradually  loosed  from  the  ground,  and  supports  itself 
upon  ever  new  points,  like  the  rim  of  a  carriage  wheel  rolling  over 
the  road  (Fig.  V.).  If,  in  our  usual  walking,  we  compare  the 
periodically-changing  activity  of  one  leg,  we  see,  above  all^  that 


Fig.  VIIL 

the  period  the  swinging  demands  is  shorter  than  that  in  which  the 
leg  is  occupied,  partly  in  sustaining,  partly  in  moving  forward. 

As  we  have  said,  these  two  periods  of  the  movements  of  one 
leg  embrace  an  interval  of  two  steps.  If  we  seek  the  parallel 
movement  of  both  legs  inside  of  this  period  in  the  usual  gait 
(Fig.  IX.),  it  is  evident  that  the  sustaining  leg  does  not  leave  the 
ground  at  the  moment  the  other  begins  its  swinging  by  the  up- 
lifting of  the  foot,  but  somewhat  later.  Therefore  it  follows  that 
both  feet  are  for  a  certain  time  simultaneously  in  contact  with 
the  ground. 

That  wavering  in  the  gait,  more  noticeable  in  women  than  in 
men,  owing  to  the  greater  breadth  of  the  pelvis  in  woman,  may 
be  remedied  by  the  counter  motion  of  swinging  the  arms.  The 
drawing  forward  of  the  torso  by  swinging  of  the  legs,  may  also  be 


THE   MECHANISM   OF   THE   LIMBS. 


21 


corrected  by  swinging  the  right  arm  forward  with  the  left  leg, 
and  the  left  arm  with  the  right  leg. 

The  importance  of  this  counter  movement  of  the  arms  is  recognized  in  the 
military  regulations  of  the  present  day,  which  command  absolute  freedom  of 
the  arms;  whereas  forty  years  ago  soldierly  discipline  required  that  they  should 
be  pressed  immovably  against  the  sides  of  the  legs. 

Hence  it  follows,  that  in  walking  a  pendulous  movement  of  the 
arms  should  take  place.  But  this  must  not  be  too  pronounced  ; 
the  arms  should  hang  lightly  at  the  sides. 

This  is  the  simple  mechanism  of  walking,  which  is  the  same  in 
all  people  having  normal  organs.  The  manifold  ways  of  walking 
depend  upon  the  line  of  gravity:  whether  it  is  moved  more  slowly 


*^2: 


Fig.  IX. 


or  quickly,  more  regularly  or  irregularly.  The  gait  also  varies 
with  the  walking  apparatus,  with  the  aim  proposed  in  walking, 
and  is  impaired  by  stiffness,  by  bad  habits,  and  by  affectation. 


22  ^ESTHETIC    PHYSICAL   CULTURE. 

From  all  that  has  been  said,  it  is  evident  that  the  natural  gait 
arises,  not  from  strength  of  muscle  (false  activity  of  the  muscles), 
but  from  the  law  of  gravity.  The  law  of  gravity  demands  that  in 
walking,  the  body  should  incline  forward.  The  more  rapidly  one 
walks,  the  more  he  bends  forward.  If  he  inclines  forward  too 
much,  he  must  either  fall  from  one  foot  on  to  the  other,  or  strain  the 
muscles  to  prevent  falling.  If  he  does  not  incline  forward  at  all, 
he  moves  only  by  undue  exertion  of  the  muscles.  We  see  at  a 
glance  whether  one  moves  onward  by  the  law  of  gravity,  or  by 
undue  muscular  effort. 

Walking  Forward. 

We  have  now  learned  the  mechanism  of  simple  walking.  To 
recapitulate  briefly  :  — 

The  leg  which  is  to  be  thrust  forward  bends  slightly  in  the 
knee-socket,  and  the  heel  is  thus  loosed  from  the  floor,  while 
the  ball  and  the  toes  rest  upon  it,  and  the  centre  of  gravity  is  car- 
ried to  the  other  foot.  At  almost  the  same  moment,  the  body 
bends  slightly  forward,  the  leg  is  stretched  out  ahead,  and  the 
foot  again  plants  itself  firmly  upon  the  ground.  But  at  the  mo- 
ment when  this  foot  touches  the  ground,  and  the  centre  of  gravity 
is  consequently  raised,  the  other  foot  lifts  its  heel,  and,  making  a 
slight  pressure  upon  the  ground  with  ball  and  toes,  moves  for- 
ward in  the  same  step. 

The  heel  will  touch  the  floor  first.  This  is  quite  right,  but  it 
must  be  the  lower  part  (Fig.  IX.,  b)^  not  the  back  part  (a\  and 
no  pause  must  ensue  between  the  setting  of  the  heel  and  toes  upon 
the  ground.  This  is  the  simple  process  of  walking,  which,  how- 
ever modified,  must  still  retain  its  main  characteristics. 

Hence,  walking  demands  three  different  movements  of  the  legs 
and  feet.  First  the  heel  is  raised,  then  the  leg  is  thrust  forward, 
and  lastly  the  foot  is  set  upon  the  ground,  while  the  other  foot 
lifts  its  heel,  and  touches  the  ground  with  ball  and  toes. 

To  attain  security  in  walking,  stated  practice  is  necessary  to 
strengthen  the  muscles,  the  gait  being  quickened  gradually. 


THE    MECHANISM    OF   THE   LIMBS.  23 

There  is  this  difference  between  walking  and  running  :  In 
the  former,  between  every  two  steps  a  moment  intervenes  during 
which  both  feet  touch  the  ground  ;  whilst  in  the  latter  this  never 
occurs,  both  feet,  on  the  contrary,  being  at  times  in  the  air. 

lYcilking  Backwai'd 
is  practiced  in  this  way:  —  The  heel  is  raised,  as  in  walking  for- 
ward, the  leg  is  thrust  backward,  the  end  of  the  foot  being  turned 
outward  with  the  great  toe  touching  the  ground.  Then  the  whole 
foot  is  set  upon  the  ground,  assuming  the  centre  of  gravity,  while 
the  other,  relieved  of  the  centre  of  gravity,  touches  the  ground 
only  with  the  little  toe.  This  foot  now  passes  the  stationary  foot 
in  a  backward  direction,  and  in  the  same  way. 

As  one  proceeds  in  this  practice,  he  passes  from  slow  to  quick, 
and  on  to  running.  This  backward  step  requires  much  practice 
as  it  is  used  constantly  on  the  stage.  It  is  also  in  frequent  use 
in  court  circles  and  in  the  salons  of  high  life,  where  a  knowledge 
of  it  is  of  great  advantage.  In  walking  backward  it  must  be 
noted  that  the  great  toe  is  first  set  down  with  the  knee  bent  very 
much  outward,  and  that  it  is  not  the  flat  sole  or  the  heel  which 
first  touches  the  floor.  From  the  latter  cause  arise  the  awkward 
backward  movements  of  untrained  people.  A  tyro,  in  stepping 
backward,  is  sure  to  let  his  heel  first  touch  the  floor. 

So  much  in  regard  to  the  mechanism  of  walking.  We  shall 
treat  in  ''.Esthetic  Gymnastics  "  of  walking  as  indicative  of  char- 
acter and  passion,  of  walking  as  produced  by  habit  and  by  affec- 
tation. 


PART  SECOND. 


PHYSICAL  GYMNASTICS. 

"  The  Greeks  first  made  themselves  into  beautiful  forms,  before  they  expressed 
such  objects  in  marble  and  painting." 

Hegel's  "  Philosophy  of  History." 


INTRODUCTION  TO  PART  SECOND. 

Our  foregoing  observations  in  regard  to  things  necessary  for 
the  pupil  to  know  at  the  outset,  lead  us  next  to  that  practice 
which  strengthens  his  muscles  and  ensures  him  the  use  of  his 
limbs,  so  that  they  may  later  become 'aesthetically  serviceable  to 
his  will. 

We  would  not  have  smgle  muscles  stimulated  through  practice 
to  unusual  strength,  or  to  the  capability  of  producing  master- 
pieces. We  demand  that  all  the  muscles,  the  least  as  well  as  the 
greatest,  should  receive  that  training  which  is  indispensable  to 
easy,  graceful  movements,  and  we  have,  therefore,  selected  such 
exercises  as  may  be  undertaken  in  any  place,  and  without  prepa- 
ration or  apparatus.  We  have  not  sought  to  include  all  those 
exercises  supposed  to  belong  to  the  rubric  of  physical  gymnas- 
tics, but  have  laid  aside  all  machine  practice.  Our  book  is 
not  for  children,  but  for  grown  people  who  would  pursue  what 
they  neglected  in  youth,  or  what  unfavorable  circumstances  de- 
nied them.  The  author  is  certain,  however,  that  this  system 
answers  the  purpose,  and  leads  to  the  desired  end,  he  having 
tested  it  by  years  of  application  in  his  own  teaching. 

DIRECTIONS    FOR    PRACTICE. 

Those  who  would  pursue  this  practice  of  gymnastics  without 
injury,  and  with  benefit  to  the  health,  must  strictly  follow  the 
directions  here  briefly  laid  down  :  — 

I.  The  most  suitable  time  for  practice  is  shortly  before  break- 
fast, dinner  or  supper.  The  best  time  is  in  the  morning  before 
breakfast.  After  exercise,  a  pause  of  half,  or  at  least  a  quarter 
of  an  hour  must  ensue  before  eating,  as  digestion  eannot  be  well 


28  ESTHETIC   PHYSICAL   CULTURE. 

carried  on  in  an  excited  state  of  the  muscles.     No  exercise  must 
be  taken  upon  a  full  stomach. 

2.  Success  results  only  from  perseverance.  If  the  desired  end 
is  to  be  reached,  practice  must  be  carried  on  with  great  regu- 
larity. 

3.  Before  beginning,  all  oppressive  clothing  must  be  removed  ; 
neck,  chest  and  abdomen  must  be  free  from  pressure.  Women 
must  remove  every  sort  of  corset. 

4.  If,  during  practice,  a  decided  'rush  of  blood  to  the  head  is 
remarked,  or  a  quickened  pulsation  of  the  heart  with  rapid 
breathing,  the  exercise  must  be  carried  on  very  circumspectly 
and  moderately,  with  long  pauses  ;  that  is,  between  every  two 
exercises  there  must  be  a  normal  action  of  the  lungs. 

5.  During  exercise,  the  breath  must  not  be  held  in.  On  the 
contrary,  draw  the  air  slowly,  and  in  deep  draughts,  into  the 
lungs,  and  expel  it  just  as  slowly,  not  forgetting  to  contract 
the  abdominal  muscles. 

A  right  action  of  the  kings  is  indispensable  for  the  preservation  of  man,  since 
upon  this  depend  the  soundness  of  the  lungs,  the  proper  circulation  of  the  blood, 
and  the  health  of  the  whole  body. 

The  pauses  between  the  exercises  are,  therefore,  used  for  deep  breathing, 
which  is  practiced  by  inhaling  the  air  slowly,  and  in  as  great  quantities  as  possi- 
ble, and  expelling  it  just  as  slowly. 

Diseases  of  all  sorts  result,  in  great  measure,  from  defective  breathing,  as  very 
many,  and  hysterical  persons  in  particular,  breathe  only  with  the  upper  half  of 
the  lungs,  thus  injuring  the  lower  half  through  lack  of  expansion.  This  fre- 
quently leads  to  consumption  in  youth,  and  to  asthma  in  old  age. 

6.  The  movements  must  be  slow,  but  decided  and  energetic. 

It  is  well  in  exercising  to  observe  a  certain  measure,  with  counts  either  loud  or 
silent,  which  may  cease  as  perfection  is  acquired  by  practice. 

In  the  beginning  make  an  exercise  five  to  eight  times  ;  after  a  few  days,  ten 
to  fifteen  times  ;  after  three  or  four  weeks,  twenty  to  thirty  times.  Never  repeat 
an  exercise  oftener. 

Above  all,  guard  against  entire  fatigue  of  the  muscles.  As  soon  as  an  undue 
sense  of  weariness  comes  on,  the  exercise  must  be  stopped  or  deferred  until  it  is 
over.  Be  content  with  small  results  at  first.  Strength  and  ease  will  come  with 
practice.  *  • 


INTRODUCTION   TO    PART   SECOND.  29 

That  disagreeable  tension  of  the  muscles  which  ensues  at  first,  need  not  cause 
alarm  in  regard  to  the  health,  and  induce  one  to  abandon  gymnastic  practice. 
Injury  results  only  from  senseless  over-excitation  of  the  muscles.  A  gradual 
progress  in  exercise  should  be  observed  ;  a  safe  and  steady  passage  from  easy  to 
difficult  things. 

7.  Exercise  must  be  carried  on  in  pure  air.  If  within  doors, 
the  place  should  be  thoroughly  ventilated  by  opening  doors  and 
windows  before  the  practice  begins.  It  must  not  be  prosecuted 
in  jerks  and  starts.  Women  should  be  exceedingly  careful  in 
this  regard. 

The  double  organs  (arms,  hands,  legs,  shoulders  and  hips) 
should  be  exercised  right  and  left  alternately. 


CHAPTER  I. 

THE   SINGLE   MEMBERS  —  SIMPLE   EXERCISES. 
Base  Position. 
The  exercise  begins  with  knees  outstretched,  heels  close  to- 
gether, toes  turned  outward  so  that  the  soles  of  both  feet  form 
the  sides  of  a  right  angle,  the  chest  moderately  expanded,  the 


Fig.  X. 


Fig.  X.,  a. 


shoulders  thrown  back,  the  hands  hanging  lightly  at  the  sides  or 
resting  upon  the  hips,  and  a  perfectly  erect  attitude.  This  posi- 
tion we  call  the  base  position  (Figs.  X.  and  X.,  a). 


THE   SINGLE   MEMBERS.  3 1 

HEAD    AND    NECK    EXERCISES. 

Turning  the  Head  to  the  Right  and  Left. 
The  head  is  turned  slowly  to  the  right  without  lowering  it,  as 
far  as  the  muscles  of  the  neck  allow  (Fig.   XL).     Remaining 


Fig.  XI. 

some  time  in  this  position  greatly  strengthens  the  muscles  of  the 
throat  and  neck.  The  same  practice  is  then  observed  by  turning 
the  head  to  the  left,  while  the  body  remains  in  its  base  position^ 
and  the  shoulder-muscles  are  motionless. 

The  object  of  this  practice  is  to  give  freedom  to  the  muscles  of  the  neck. 
This  is  very  necessary,  for  in  gesture  it  constantly  occurs,  notably  in  persons  of 
high  rank,  that  a  slight  turn  of  the  head  to  one  side  or  the  other,  without  the 
least  movement  of  the  body,  is  of  great  significance.  When,  through  inflexibility 
of  the  muscles  of  the  neck,  arising  from  want  of  exercise,  the  whole  body  turns 
with  it,  as  we  often  observe  in  persons  without  gymnastic  training,  the  effect  is 
very  ungraceful. 

Bowing  of  the  Head  Forward^  Backward^  or  to  the  Right  and  Left. 

The  head  is  bowed  in  a  fourfold  way,  the  trunk  remaining 
erect,  without  stretching  the  neck-muscles  too  powerfully. 

The  backward  inclination  of  the  neck,  especially  in  women, 
should  be  slight  (Fig.  XII.). 

From  this  fourfold  exercise  of  the  head  proceeds  one  exer- 
cise :  — 

The  Head  Circle. 

The  four  head  movements  are  united  by  a  circular  line  (Fig. 
XIL,  a-b)^  and  also  make  a  funnel-shaped  movement  without  the 


32  .ESTHETIC   PHYSICAL   CULTURE. 

passing  of  the  head  to  its  normal  position.  From  the  forward 
inclination  of  the  head  we  pass  to  the  backward  movements  back 
on  the  left  and  right  sides,  then  again  to  the  first  forward  move- 
ment, the  upper  part  of  the  body  remaining  in  its  base  position^ 
and  the  uninterrupted  circular  form  slightly  indicated. 

A  strong,  muscular  neck  is  not  a  feminine  trait  surely  ;  but  women  often 
greatly  strengthen  the  muscles  of  the  head  and  neck  by  gymnastic  exercises. 
While  the  neck  has  to  sustain  the  not  inconsiderable  weight  of  the  head,  an 
oblique  carriage  of  the  head  may  be  easily  brought  on  if  the  neck,  from  weakness 
or  relaxation  of  its  muscles,  cannot  perform  the  required  service.  In  case  of  this 
oblique  carriage  of  the  head,  mothers  and  teachers  have  sometimes  used  collars 
set  with  bristles  so  arranged  that  the  bristles  at  once  cause  a  disagreeable  sensa- 
tion if  the  neck  inclines  to  one  side.  Tissot  tells  of  the  superior  of  a  convent 
who  corrected  this  habit  by  instituting  a  sort  of  game  in  which  a  ball  or  some  other 
slippery  object  was  carried  on  the  head,  the  pupil  who  let  it  fall  paying  a  forfeit. 

A  lady  pupil  came  to  the  author  of  this  work,  — a  singer  who  after  two  years' 
study  with  another  teacher,  could  not  sing  a  note  without  turning  her  head  con- 
siderably toward  the  right  shoulder,  which,  while  giving  her  an  awkward  appear- 
ance, also  greatly  injured  the  tone.  He  adopted  the  following  method  :  As  soon 
as  she  began  to  sing  he  had  her  turn  her  head  to  the  left  shoulder,  not  allowing 
her  to  sing  a  note  in  any  other  position.  After  some  months  when  he  saw  that 
fhe  inclination  to  the  right  shoulder  had  wholly  disappeared,  he  let  her  hold  her 
head  erect.  Now  in  singing  there  was  a  conflict  between  the  right  and  left  mus- 
cles, but  the  effort  to  obey  neither  much  facilitated  the  erect  position  of  the  head, 
and  the  oblique  leaning  was  wholly  cured. 

TORSO    EXERCISES. 

Shoulder  Move?nents. 
Both  shoulders  are  raised  as  high  and  as  forcibly  as  possible 


Fig.  XIII. 


THE    SINGLE    MEMBERS. 


33 


(Fig.  XIIL),  and  then  allowed   to  fall  slowly  into  their  normal 
position.     A  too  rapid  fall  will  shake  the  head  too  much. 

This  exercise  is  first  performed  with  both  shoulders,  and  then 
with  one,  the  base  position  being  strictly  observed,  even  in  regard 
to  the  arms,  which  must  fall  loosely  down  from  the  shoulders, 
without  bending  the  elbows.  The  shoulders  are  then  drawn  for- 
ward and  backward,  first  singly  and  then  both  together.  From 
this  movement  results 

The  Shoulde?'  Circle. 
A  movement  upward,  backward,  and  downward,  forward  and 
again  upward  (without  interruption),  not  by  jerks,  but  in  a  circle. 


1 


1 


The  same  movement  may  be  made  in  a  reversed  order  with  the 
shoulders  elevated,  forward,  downward,  backward,  upward,  etc. 
In  all  practice  only  the  required  muscles  should  be  active,  all 
the  others  being  in  perfect  repose.  This  rule  is  to  be  strictly 
observed. 


34 


.^.STHETIC    PHYSICAL    CULTURE. 


Rising  and  Falling  of  the  Hips. 
The   leg  fully  extended   is  drawn   by  means  of  the  hips  up 
toward  the  torso,  and  then  allowed  to  fall  slowly. 

This  movement  is  much  restricted,  as  the  foot  cannot  be  raised  more  than  two 
or  three  finger  breadths  from  the  floor. 

The  Turning  or  Twisting  of  the  Trunk. 
The  trunk  is  turned  to  the  right  or  left  with  the  legs  extended 
in  a  straight  line,  as  if  it  would  turn  around  on  its  own  axis  with- 
out moving  the  hips  (Fig.  XIV.).  This  movement  is  limited,  but 
it  is  beneficial  to  the  abdomen  and  to  the  lower  muscles  of  the 
back  and  hips. 

Inclination  of  the  Torso  Forivard^  Backward^  Right  and  Left. 

The  legs  are  extended,  the  torso  from  the  hips  to  the  skull 
bending  forward  until  the  torso  and  legs  form  a  right  angle 
(Fig.  XV.),  then  they  pass  slowly  back  to  the  base  position.     This 


Fig.  XV. 

exercise,  slow  at  first,  grows  more  rapid  until  at  last  it  assumes  a 
sort  of  violence,  as  if  the  upper  part  of  the  body  were  thrown  to 
the  earth,  and  must  be  raised  forcibly. 


THE   SINGLE    MEMBERS. 


.uinVERSITY 

The  side  movements  (Fig.   XVI.),  and  especially  the  backwafS 
(Fig.  XV.)  can  be  executed  only  in  a  restrictive  way.     From  the  exercises  just 
described  arises 

T/ie   Torso  Circle^ 
which  is  formed  in  the  same  manner  as  the  head  circle  (Fig.  XVI, 
a^  b,  c).     But  here  no  revolution  on  the  axis  takes  place,  as  the 
front  of  the  torso  must  always  retain  the  same  position. 


This  exercise  is  most  easily  practiced  with  the  hands  at  the  hips  (akimbo).  It 
gives  excellent  training  to  the  muscles  of  the  back  and  abdomen,  an  indispensa- 
ble requisite  in  speaking  and  singing,  as  well  as  in  every  position  requiring  great 
effort.     It  must  be  performed  at  the  last  with  much  energy  of  movement. 

Elevating  the  Torso. 
The  pupil  lies  horizontally  upon  the  back  with  limbs  extended, 
hands  crossed  over  the  breast  or  falling  at  the  sides,  and  without 
changing  the  position  of  the  limbs  or  separating  the  feet,  which 
must  touch  each  other  at  the  heels,  slowly  and  gently  rises  to  a 
sitting  posture,  and  then  lies  down  again. 

Some  pupils  will  find  it  impossible  to  go  through  with  this  exercise  at  first. 
In  this  case,  as  well  as  in  that  of  persons  with  weak  abdominal  muscles,  a  pillow 
is  placed  under  the  head,  or  they  grasp  some  fixed  object  with  the  toes  in  order 
to  maintain  the  equilibrium.  After  a  while  these  aids  can  be  dispensed  with. 
The  object  of  this  exercise  is  to  strengthen  the  abdominal  muscles. 


36 


/ESTHETIC    PHYSICAL    CULTURE. 


Torso  exercises,  that  is,  an  activity  of  the  muscles  of  the  back,  have  an  invigo- 
rating influence  upon  the  spinal  marrow,  and  are  all  the  more  beneficial  because 
exercise  of  the  muscles  of  the  back  is  greatly  neglected  in  every-day  life. 

All  these  exercises  should  be  pursued  with  great  industry,  and,  above  all  oth- 
ers, those  pertaining  to  the  shoulders.  Nothing  can  be  more  stiff,  awkward  and 
ungainly  than  a  shrug  of  the  shoulders  in  which  the  whole  torso  moves.  To 
ladies,  especially,  ease  in  the  shoulder-movements  is  indispensable. 

To  quote  the  words  of  Dr.  Kloss,  in  his  "  Home  Gymnastics  for  Women  :  "  — 
"  When  one  reflects  what  influence  the  shoulders  have  in  the  development  of  the 
bust,  those  exercises,  which  prevent  a  muscular  laxness  in  this  region,  should  be 
prized  as  a  means  of  beauty  if  the  strengthening  of  the  shoulder-muscles  had  not 
a  greater  significance  as  a  means  for  promoting  health.  Any  injurious  pressure 
upon  the  shoulders  must  be  transferred  to  the  region  of  the  chest  that  lies  be- 
neath them." 

Ar?n  Exercises. 
The  action  of  the  arms  and  hands  is  of  great  importance  in 
acting  and  in  gesture,  because,  next  to  the  face,  they  are  most 
capable  of  expression.    Special  attention  must,  therefore,  be  given 


^y 


Fig.  XVII. 

to  the  training  of  these  muscles,  and  to  the  easy  movement  of 
their  joints.     The  wrist-joint  is  of  great  importance  in  gesture, 


THE    SINGLE    MEMBERS.  37 

and  much  effort  must  be  applied  to  rendering  the  hand  free  from 
the  lower  arm. 

ARM    EXERCISES    WITH    OUTSTRETCHED    ARMS. 

I.  Lifting  and  Moving  the  Ann. 

The  arm  is  lifted  and  extended  slowly  forward  and  upward 
(Fig.  XVII. ,  a,  c,  d),  and  then,  with  a  slight  swing,  allowed  to 
fall  back  into  the  base  position  and  beyond  it  {a-e).  Both  these 
movements  are  slow  at  first,  but  grow  more  rapid  until  swinging. 
The  hand  is  left  open,  or  it  is  clinched.  The  backward  move- 
ment is  a  limited  one. 

Lifting  the  Arm,  —  This  is  done  sideways  while  the  extended 
arm  is  raised  in  a  lateral  direction,  first  with  the  outer  and  then 
with  the  inner  palm  of  the  hand  upward,  until  it  touches  the  side 
of  the  head,  when  it  falls  back  to  the  base  position.  Here,  also, 
the  full  swing  is  made  gradually. 

When,  by  means  of  the  foregoing  exercises,  the  pupil  has  attained  perfect 
mastery  over  his  shoulder-joints,  he  passes  over  to 

2.  The  Arm  Circle. 
This  is  made  as  follows  :  —  The  arm  being  lifted  as  described 
in  section  i,  is  passed  forward  and  backward,  and  vice  versa^ 
until  it  resumes  the  base  position,  as  in  Fig.  XVIL,  a.,  c,  d,  e-a. 
The  movement  begins  slowly,  growing  more  rapid  until  it  is  a 
swinging  movement.  It  is  more  elliptical  than  circular,  but,  by 
frequent  practice,  can  be  made  to  approach  very  nearly  to  a  cir- 
cular form. 

The  shoulder-muscles,  and  those  around  the  cavity  of  the  chest,  are  set  into 
action  by  these  movements,  whose  main  object  is  to  impart  freedom  to  the  shoul- 
der-joint and  to  strengthen  respiration,  which  is  greatly  facihtated  by  the  expan- 
sion of  the  chest. 

J.    Turning  and  Revolving  the  Arms. 
The  extended  arm  is  raised   sideways  to  the  height  of  the 
shoulder,  so  that  the  outer  palm  of  the  hand  is  uppermost ;  the 


38 


ESTHETIC    PHYSICAL    CULTURE. 


Fig.  XVIII. 

inner  palm  is  then  turned  upward,  and  this  is  done  alternately, 
with  the  wrist-joint  as  stiff  as  possible.  The  same  exercise  is 
then  carried  on  with  the  hand  clinched  (Fig.  XVIII.,  a). 

This  movement  will  be  most  perfectly  executed  if  the  pupil  imagines  himself 
driving  a  gimlet  into  a  piece  of  wood  with  his  outstretched  arm. 

4.  Balancing  and  Oblique  Movements. 
The  outstretched  arms  are  moved  forward  (See  Fig.  LXVIII., 
a^  d-a)  so  that  the  inner  palms  meet,  and  then  backward  as  if 


Cs:: 


--:>3 


THE    SINGLE    MEMBERS.  39 

they  would  meet  behind  the  back,  which  they  cannot  do  wholly. 
This  movement  begins  slowly,  growing  more  rapid  until  swing- 
ing is  attained.  The  oblique  movement  consists  in  raising  the 
*rm,  not  to  the  height  of  the  shoulder,  but  to  that  of  the  elbow 
(See  Fig.  LXVIIL,  a,  c-d)^  and  is  executed  in  the  same  man- 
ner. In  this  way  the  outer  palms  of  the  hands  can  be  carried 
behind  the  back  until  they  touch,  especially  by  rapid,  powerful 
swinging.  In  both  these  movements  the  front  muscles  of  the 
chest  act  alternately,  -half  the  front  and  half  the  back  wall  of 
the  chest-cavity  acting  in  unison.     They  facilitate  breathing. 

ARM    E}^ERCISES    WITH    THE    AID    OF    THE    ELBOW-JOINTS. 

The  movements  of  the  elbow-joint  are  of  a  twofold  sort  —  the 
flexor  and  the  extensor  movements,  or  the  attraction  and  repulsion 
of  the  lower  arm  from  the  upper  arm. 

I.  Att7'actio7i  and  Repulsion. 
This  happens  when  the  lower  arms  are  drawn  upward  from  the 
base  position  until  the  clinched  hands  nearly  touch  the  shoulders. 
The  lower  arm  is  then  allowed  to  fall  tense  with  strained  mus- 


^-Ji.--, 


Fig.  XX. 

cles,  even  with  a  sort  of  thrust,  back  to  the  base  position.  This 
exercise  can  be  carried  out  downward,  upward,  forward,  outward 
and  backward,  in  a  limited  degree  (See  Figs.  XIX.  and  XX.). 


40  yESTHETIC   PHYSICAL   CULTURE. 

During  the  downward  movement  the  upper  arms  remain  in  the 
base  position  ;  in  all  other  sorts  of  repulsion  they  are  obliged  to 
follow  the  lower  arm.  In  regard  to  the  foot,  it  may  be  remarked 
that  the  centre  of  gravity  rests  more  upon  the  toes  than  upon  the 
heel,  in  order  to  avoid  too  great  concussion  of  the  brain. 

If  the  fore  part  of  the  hand  is  now  placed  upon  the  shoulder, 
the  movement  is  made  from  the  elbow,  as  if  one  would  strike  out 
from  behind  (eight  or  ten  times),  an  excellent  exercise  for  ex- 
panding the  chest. 

2.  Movement  of  the  Ar?ns  Behind  the  Back. 
The  hands  are  folded  behind  the  back  near  the  loins,  so  that 
the  inner  palms  join  ;  then  the  pupil  seeks  to  extend  the  arms 
without  loosening  the  hands,  raising,  as  far  as  possible,  the  arms 


Fig.  XXI. 

still  extended  stiffly  behind  (Fig.  XXL),  lets  them  down  again, 
and  goes  on  thus,  slowly  at  first,  and  then  more  rapidly.  The 
spine  must  not  be  bent. 

By  these  movements  the  shoulders  are  tensely  and  strongly  drawn  back,  the 
extension  drawing  them  downward  and  thus  enforcing  a  bearing  noble  and  con- 
ducive to  health,  while  the  front  wall  of  the  chest  is  widened  and  breathing  facil- 
itated.    They   are   a  safe-guard    against  protrusion  of   the   shoulders,    against 


THE    SINGLE    MEMBERS.  4I 

laxness  and  paralysis  of  the  back  shoulder-muscles,  which  may  be  discerned  in  a 
crooked  posture  of  the  body  and  an  inability  to  correct  it  by  an  effort  of  the  will ; 
they  also  prevent  most  sorts  of  chronic  asthma. 

t.-- 
HAND  AND  WRIST  PRACTICE. 

The  arms  and  hands  extended  sideways  are  brought  into  equi- 
librium (with  the  outer  pahns  upward).  The  hands  are  now 
raised  by  a  mere  wrist-movement,  the  fingers  remaining  stiff,  and 
carried  upward,  downward,  forward,  backward  and  in  a  circle,  the 
outstretched  arm  still  retaining  its  position.  Each  of  these  exer- 
cises is  practiced  six  times.  Then  the  fingers  are  closed  upon 
the  palm,  and  the  several  movements,  just  described,  are  again 
made,  assuming  gradually  the  form  of  a  perpendicular  figure  8, 
and  at  last  that  of  a  horizontal  one  ( 00 ). 

Finger- Stretching  and  Spreading. 

This  exercise  is  accompanied  by  that  of  spreading  and  stretch- 
ing the  fingers,  the  clinched  hand  being  opened  suddenly  as  if 
something  were  thrown  violently  away.     Then  the  fingers  are 


spread  as  widely  as  possible,  and  this  again,  as  if  they  had  to 
overcome  some  opposition  with  muscles  tensely  drawn,  claw-like, 


42  >^STHETIC    PHYSICAL   CULTURE. 

and  contracted  to  a  fist.  This  practice  is  carried  out  with  arms 
pendent,  the  lower  arm  being  drawn  slightly  toward  the  upper 
one,  and  then  thrust  away,  the  fingers  being  spread  suddenly 
(Fig.  XXIL). 

Unimportant  as  these  exercises  may  seem,  they  give  freedom  to  the  wrist-joint, 
which  can  be  acquired  in  no  other  way,  and  the  importance  of  this  joint  in  ges- 
ture is  universally  known.  If  the  wrist  is  stiff,  an  arm-movement  will  be  awk- 
ward and  angular;  but  with  a  stiff  elbow  and  a  flexible  wrist,  the  movement  can 
be  tolerated.  Even  the  movement  of  a  finger  is  of  the  greatest  importance  in 
gesture,  but  the  first  rule  is  to  be  sparing  of  movements  of  the  hands  and 
fingers. 

Graceful  movements  of  hand  and  fingers  *^  are  of  very  great  importance  to 
women,  on  account  of  delicate,  feminine  handiwork,  as  well  as  fine  and  graceful 
gestures. 

LEG    AND    FOOT    PRACTICE. 

I.  Exercise  with  Stretched  Leg  —  Leg  Swinging. 
The  tense  leg  is  raised  somewhat  from  the  floor,  then  gradu- 
ally as  far  as  possible,  and  the  pupil  stands  for  a  long  time  upon 


one  leg  (Fig.  XXIII.,  a,  b).  Then  the  leg  is  going  backward 
{a,  c),  then  sideways  in  the  same  manner,  until  the  full  swing  is 
completed.     From  these  movements  arises 


THE   SINGLE    MEMBERS.  43 

2,    The  Leg  Circle^  Foi'ward  and  Backward, 
as  represented  in  Fig.  XXIII.,  a,  b,  r,  a^  a  circle  having  more  or 
less  the- elliptical  form,  and  then  backward,  ^,  c,  /;,  a. 

MOVEMENT    OF    THE    HIP    AND    KNEE-JOINTS. 

/.  The  Flexion  and  Extension  of  the  Knee  Backwai'd. 
The  lower  leg  passes  backward,  the  upper  leg  standing  still, 
until  both  form  a  right  angle;  first  slowly,  and  then  more  rapidly; 
then  on  until  the  lower  leg  passes  over  the  line  of  the  right  angle 
with  the  heel  almost  touching  the  breech  (Fig.  XXIV.,  b).  The 
centre  of  gravity  rests  at  the  point  of  the  stationary  foot,  to  avoid 
jarring  the  brain.  This  exercise,  if  performed  rapidly,  is  attended 
with  a  sort  of  swing.  Then  the  knee  still  remaining  tense,  the 
leg  is  thrown  with  some  violence  back  into  the  base  position 
without  striking  upon  the  floor. 

2.    The  Flexion  and  Extension  of  the  Knee  Fonvard. 
The  upper  leg  is  thrown  forward,  the  lower  leg  falling  perpen- 
dicularly so  that  both  form  a  right  angle  (Fig.  XXIV.,  Cy  d)  \ 


a 
Fig.  XXIV. 


then  the  lower  leg  is  extended  slowly  so  that  it  is  at  length  in 
equilibrium,  and   forms  a  right  angle  with   the    stationary  leg 


44      .  .ESTHETIC    PHYSICAL   CULTURE. 

(a,  e).     It  then  passes  slowly  back  to  the  base  position.     After 
some  practice  this  is  done  with  facility. 

The  object  of  this  exercise  is  to  strengthen  the  flexor  and  extensor  muscles  of 
the  knee,  and  give  freedom  to  the  knee-joint.  Exercises  with  a  Hke  purpose, 
and  which  the  author  has  seen  attended  with  beneficial  results  to  his  own  pupils, 
are  also  introduced  into  his  system.     He  calls  them  simply  exercises  for 

J.  Strengthening  the  Muscles  of  the  Leg. 
I. 
(a)  The  right  leg  takes  a  long  stride  out  of  the  base  position  (far- 
ther than  in  Fig.  LXVIL),  while  the  sole  of  the  left  foot  remains 
fixed  upon  the  floor.  The  hands  are  then  braced  against  the 
hips,  and  the  upper  part  of  the  body,  held  in  a  vertical  position, 
with  chest  expanded  and  shoulders  thrown  back,  is  allowed  to 
sink  toward  the  knee  of  the  right  leg,  while  the  left  leg  remains 
stiff.  The  natural  result  is  that  the  right  knee  passes  beyond 
the  line  of  the  toes.  When  the  utmost  limits  of  the  flexion  are 
reached,  the  body  remains  for  a  short  time  in  this  position;  then 
(b)  without  raisiqg  the  sole  of  either  foot  from  the  floor,  the  body 
is  allowed  to  sink  toward  the  knee  of  the  left  leg,  the  right  leg 
being  held  stiff,  and  to  remain  as  long  a  time  as  before.  Then 
{c)  a.  full  swaying  of  the  upper  part  of  the  body  takes  place  (from 
a  to  b  and  vice  versa) ^  increasing  in  rapidity  until  the  swing  is 
complete.     This  exercise  is  performed  ten  or  twelve  times. 

II. 

The  exercise  given  under  I.,  a,  is  carried  out,  and  when  the 
forward  knee  has  reached  the  utmost  limit  of  tension,  the  centre 
of  gravity  is  carried  over  to  this  leg  alone,  while  the  stationary 
leg  is  raised  from  the  floor,  so  that  the  pupil  stands  upon  one 
strongly  bent  leg,  while  the  other  is  thrust  stiffly  backward  into 
the  air.  This  position  is  retained  a  long  time,  then  the  same 
movement  is  repeated  with  the  other  leg. 

III. 

Exercise  II.  is  practiced  with  the  leg  extended  and  bent  alter- 
nately ten  or  twelve  times  in  rapid  succession,  so  that  the  upper 


THE    SINGLE    MEMBERS. 


45 


part  of  the  body,  still  held  in  a  strictly  vertical  position,  sinks 
and  rises  by  turns. 

These  exercises  are  excellent.  They  impart  strength  to  the  knee-joint,  mak- 
ing kneeling  and  rising  far  more  easy,  adding  firmness  to  the  gait,  and  improv- 
ing the  carriage  of  the  whole  body. 

MOVEMENT    OF    THE    HIP,    KNEE    AND    FOOT-JOINTS. 

I.  Foot-Extension, 
(a.)  The  pupil  rises  slowly  from  the  base  position,  his  hands 
resting  against  the  hips,  his  heels  close  together,  and  sinks  down- 
ward just  as  slowly,  standing  for  a  long  time  upon  the  toes  ;  then 
ever  more  rapidly  without  touching  the  floor  with  his  heels,  he 


Fig.  XXV. 

steps  briskly  up  and  down  ;  (d)  then  standing  upon  the  toes,  he 
sinks  slowly  and  with  closed  knees  into  a  sitting  posture,  remain- 
ing in  it  for  some  time;  then  (c)  into  a  cowering  posture  of  some 
duration  (Fig.  XXV.);  then  (d)  he  again  rises  to  a  sitting  pos- 
ture retaining  it  for  some  time,  then  passes  back  to  the  base  po- 


46  /ESTHETIC    PHYSICAL   CULTURE. 

sition  without  having  separated  his  heels  during  this  whole  inter- 
val. At  last  (e)  he  condenses  exercises  (<^,  c)  and  (c/)  into 
one,  passing  from  the  base  position  to  (d),  (c)  and{^/),  and  with- 
out pause,  returning  to  it  again.  This  last  exercise  goes  on  from 
eight  to  ten  times  without  interruption.  Throughout  all  the 
gradations  of  this  practice,  the  upper  part  of  the  body  must  re- 
main strictly  vertical. 

This  exercise  gives  freedom  to  the  muscles  of  the  legs  and  feet.  As  it  requires 
great  effort,  it  is  practiced  only  a  few  times  in  succession,  until  the  muscles  have 
become  perceptibly  strengthened. 

2.  Foot  Extension^  Flexion  and  Circling. 
Fhe  foot  is  raised,  the  knee  stretched,  being  somewhat  thrown 
forward,  the  toes  against  the  floor  and  turned  outward.  They 
are  then  drawn  Upward  toward  the  knee,  and  then  downward  six 
or  ten  times ;  then  to  one  side  and  then  the  other.  From  these 
movements  results  the  foot  circle  (necessarily  very  limited  ;  Fig. 
XXVI.). 

The  shin-bone,  the  muscles  of  the  calf  of  the  leg,  in  fact  all  the  muscles  of 
the  lower  leg  are  thus  brought  into  action.  This  movement  serves  to  give  free- 
dom to  the  ankle-joint,  the  tarsus  and  the  toes. 

Everyone  who,  without  gymnastic  training,  appears  in  public  and  feels  as  if 
his  feet  were  filled  with  lead  and  his  legs  were  iron  bars,  recognizes  how  impor- 
tant it  is  to  give  strength  and  elasticity  to  these  muscles. 


Fig.  XXVI. 


CHAPTER  11. 
THE   LIMBS   AS   A   WHOLE  —  COMPLEX   EXERCISES. 

The  object  of  the  exercises  given  thus  far,  has  been  to  de- 
velop certain  muscles  singly  ;  those  we  now  give  will  set  all 
the  muscles  in  action  simultaneously  to  a  greater  or  less  degree, 
and  are,  to  a  certain  extent,  the  result  of  all  the  preceding  exer- 
cises. 

If  the  student  has  diligently  practiced  the  exercises  hitherto 
given,  he  need  not  go  through  them  all  daily  ;  but  he  must  prac- 
tice those  we  now  give  every  morning,  if  he  would  have  his 
limbs  remain  supple  and  his  movements  graceful. 

The  great  singer  Mme.  -Schroder-Devrient,  whom  the  world 
looked  upon  as  one  of  those  favored  geniuses,  to  whom  every- 
thing comes  in  sleep,  once  said  to  the  author  of  this  work  : 
^' While  I  remained  upon  the  stage,  and  this  was  quite  a  long 
time,  I  went  through  certain  gymnastic  practices  every  morning. 
They  at  length  became  indispensable  to  me,  and  to-day,  as  an 
elderly  woman,  I  still  continue  them." 

The  oft-repeated  maxim,  '*  Everything  comes  to  genius  over 
night,"  is  belied  by  this  assertion  of  one  of  the  greatest  of  ge- 
niuses. 

I.  Exercises  for  the  Upper  Fart  of  the  Body, 
(a)  Begin  with  the  following  movements  :  The  hands  should 
be  brought  from  the  base  position  (in  which  the  arms  hang- 
loosely  at  the  sides)  toward  each  other,  in  front  of  the  body,  until 
the  index  fingers  nearly  touch  (Fig.  XXVIL,  i,  2).  Then  raise 
the  arms  above  the  head  with  a  round,  graceful  movement  on 
the  dotted  line  from  2  to  3.  Let  them  remain  in  this  position 
some  time,  describing  a  half-circle,  the  tips  of  the  index  fingers 


48 


.ESTHETIC    PHYSICAL   CULTURE. 


almost   meeting;    then   loose   the   circle   gradually,   letting  both 

arms  fall  slowly  back  to  the  base  position  at  the  side  (3,  4,  5,  6,  i). 

This  exercise  should  be  performed  at  first  slowly,  accompanied 

by  slow,  deep  breathing.     The  chest  is  dilated,  and  the  move- 


/ 


^^.'^T'- 


'-^S,-X^' —     I 


^y--.. 


ir;-">^^^x=?»  ^ 


Fig.  XXVII. 

ments  should  be  made  faster  and  faster  up  to  a  regular  swinging 
of  the  arms. 

Breathing  from  the  lower  part  of  the  chest,  as  prescribed  for 
speaking  and  singing,  must,  of  course,  be  practiced  here  ;  for, 
when  the  arms  are  raised  above  the  head,  the  upper  muscles  of 
the  chest  are  at  their  highest  elevation,  and  the  lower  cavity 
of  the  chest  must  expand. 

This  exercise  is  the  first  in  our  system  which  demands  more 


THE-  LIMBS   AS   A  WHOLE.  49 

than  a  mere  bending  and  stretching  of  the  limbs.  It  forms  the 
basis  of  XhQ  port  de  bras  of  the  art  of  dancing.  Like  all  the  com- 
plex exercises  which  follow,  it  must  have  an  element  of  grace. 
The  upper  arms  should  begin  the  movement,  which  must  be  at 
once  visible  in  the  entire  arm,  even  to  the  finger-tips.  Moving 
the  lower  arm  first,  produces  angularity  and  stiffness.  We  shall 
come,  further  on,  to  the  fundamental  rules  for  arm-movements, 
which  will  be  treated  at  some  length. 

The  hands  must  follow  easily  and  gracefully  the  movements 
of  the  lower  arm,  the  palms  being  somewhat  narrowed  unless  it  is 
absolutely  necessary  to  spread  them,  as  in  a  repellent  movement. 

(b)  Perform  exercise  (a)  with  one  arm  at  a  time,  the  other 
hanging  gracefully  at  the  side. 

{c)  Perform  exercise  (a)  raising  the  arms  only  to  the  height  of 
the  shoulders,  and  when  the  arms,  in  returning  to  the  base  posi- 
tion, are  stretched  out  on  a  level  with  the  shoulders.  Retain 
them  for  a  time  horizontally  extended  (Fig.  XXVII.,  4-4),  and 
then  let  them  sink  into  the  base  position. 

(^)  Perform  exercise  {a)  without  extending  the  movement 
above  the  level  of  the  hips,  first  with  both  arms,  and  then  with 
one  at  a  time  (5-5). 

(e)  Perform  exercise  {a)  in  such  a  way  that  the  principal  move- 
ment shall  proceed  from  the  wrist,  and  to  a  slight  extent  from  the 
elbow-joint  (i,  2,  6,  i). 

(/)  Perform  exercise  {a)  turning  the  trunk  to  the  left  until 
the  arms  stand  over  the  head  (3).  Retain  this  position  for  a 
time  with  the  look  directed  upward,  and  then  complete  the  exer- 
cise while  the  trunk  is  being  brought  back  to  the  base  position  ; 
then,  without  any  pause,  repeat  the  same  exercise,  turning  the 
trunk  to  the  right.  Continue  with  this  alternating  exercise  for 
some  time,  gradually  increasing  the  rapidity  of  the  movements 
and  keeping  the  head  and  look  as  above  mentioned. 

The  exercises  (^),  {c)  and  (d)  should  then  be  practised  in  the 
same  manner  ;  first  with  both  arms,  then  with  one. 


50 


ESTHETIC   PHYSICAL   CULTURE. 


2.  Exercises  for  the  Legs  and  Feet —  The  "  Leg  Circled 
(a)  One  leg  is  bent  slightly  at  the  knee-joint  at  ''  i,"  as  in 
walking  forward,  the  heel  being  raised  from  the  ground,  and  the 


Fig.  XXVIII. 

centre  of  gravity  transferred  to  the  other  foot.  At  ^'  2,"  this  leg 
is  lifted  as  high  as  possible,  the  toes  being  turned  outward  ;  at 
"  3  "  it  is  moved  sideways  and  backward  (Fig.  XXVIII.,  3),  de- 
scribing three-fourths  of  an  ellipse  ;  at  ^^4  "  the  knee  is  bent,  the 
toes  being  turned  outward  and  downward,  and  the  heel  drawn 
upward,  and  the  leg  is  brought  past  the  stationary  leg  and  then 
extended  again  forward,  this  last  movement  being  performed 
with  a  certain  stress.  The  base  position  having  been  resumed, 
the  same  exercise  should  be  immediately  performed  with  the 
other  leg. 

(^)  Repeat  exercise  (a)  a  number  of  times,  gradually  reducing 
the  elevation  of  the  leg  and  the  size  of  the  circle,  until  at  last  the 


THE   LIMBS   AS   A   WHOLE.  5 1 

movements  are  performed  with  the  lower  leg,  and  finally  with 
the  foot  alone. 

J.  Exercises  for  the  Upper  Body,  ^^K^  ^^^^  Feet. 

(a)  The  exercises  given  in  sections  i  and  2,  a,  should  be  taken 
toofether.  First  with  both  arms  and  one  foot;  then  with  one  arm 
and  one  foot,  the  right  foot  and  the  left  arm,  and  vice  versa. 

(b)  Perform  the  exercises  in  sections  i  and  2,  a,  up  to  the  point 
at  which  the  foot  is  carried  farthest  backward,  and  then  remain 
for  a  time  standmg  on  one  leg,  the  hands  held  lightly  over  the 
head,  the  upper  portion  of  the  body  much  bent  forward,  and  the 
look  turned  upward;  and  from  time  to  time  making  a  flexor  and 
extensor  movement  with  the  stationary  leg  —  first  slowly,  then 
more  rapidly.  Then,  bending  the  body  backward,  bring  the  foot 
forward  (Fig.  XXVIII. ,  as  is  shown  by  the  dotted  line  3,  4,  5,  2), 
the  toes  directed  downward  and  outward  ;  at  the  same  moment 
place  the  arms  in  the  position  shown  in  Figure  XXVII.,  4,  4,  and 
make  again  the  flexor  and  extensor  movements  with  the  station- 
ary leg. 

This  movement  of  the  legs  forward  and  backward,  with  the 
corresponding  arm  movements,  should  be  performed  several 
times  in  succession,  and  with  each  change  the  flexor  and  exten- 
sor movements  should  be  made  six  or  eight  times  in  quick  suc- 
cession. 

(c)  Walk  forward  and  backward  according  to  the  rules  given 
for  walking,  counting,  as  you  go,  one,  two,  three,  keeping  the 
arms  above  the  head,  and  with  each  step  remain  for  a  short  time 
resting  firmly  on  one  leg,  while  the  other  is  held  backward  in  the 
air  or  forward  in  walking  backward. 

{d)  Walk,  according  to  the  rules,  forward  and  backward,  count- 
ing as  before,  but  without  stopping  at  each  step,  and  perform 
without  interruption  the  exercises  with  the  arms,  i,  2,  3,  4,  etc. 
(as  in  Fig.  XXVII.).  The  arms  must  not  pass  abruptly  from 
one  number  to  the  other,  but  gracefully  describe  a  circle. 


52  ESTHETIC   PHYSICAL  CULTURE. 

The  exercises  under  (c)  and  (^),  the  latter  first  with  one  arm, 
and  then  with  both,  should  be  performed  for  five  minutes. 

All  these  movements  must  be  made  exactly  in  the  designated 
order,  and  practiced  every  morning  during  one's  life-time  by  ar- 
tists, whether  men  or  women,  if  they  would  keep  their  limbs  supple. 
»  Some  of  the  dancing  steps  will  be  of  great  value  to  the  pupil. 
These  steps,  under  their  well-known  French  names,  are  as  fol- 
lows : 

1.  Les  petits  battetnents, 

2.  Changement  des  pieds, 
J.  Port  de  bras. 

4.  Pas  de  basque. 

They  will  be  fully  described  hereafter. 

Instruction  in  Physical  Gymnastics,  so  far  as  is  necessary  to 
our  system,  is  now  ended,  and  we  proceed  to  Esthetic  Gymnas- 
tics and  the  principles  of  acting. 

Only  by  a  thorough  study  of  Physical  Gymnastics,  can  the 
pupil  become  capable  of  practicing  Esthetic  Gymnastics. 


PART  THIRD. 


ESTHETIC  GYMNASTICS. 


INTRODUCTION  TO  PART  THIRD. 

The  office  of  aesthetic  gymnastics  is  to  unite  in  a  harmonious 
whole  the  limbs  of  the  human  body,  which  have  been  strength- 
ened and  rendered  elastic  by  physical  gymnastics  ;  to  regulate 
their  movements  by  the  fixed  laws  of  beauty,  so  that  the  emo- 
tions of  the  soul  may  be  clearly  and  beautifully  expressed. 

This  portion  of  our  work  comprises  two  divisions  :  (i)  The 
pure  plastic  and  universally  beautiful,  which  embraces  the  sub- 
jective of  men  in  real  life;  and  (2)  the  play  of  mien  and  gesture, 
or  the  objective,  which  appears  upon  the  stage  in  the  delineation 
of  other  men.  We  call  the  first  part  the  Plastic,  and  the  second 
part  the  Mimic. 

By  plastic  we  understand  not  repose  alone,  but  also  the  transi- 
tion from  repose  to  movement,  and  from  one  position  to  another; 
that  is,  beauty  in  movement,  or  the  "animated  plastic." 


CHAPTER  I. 

THE   PLASTIC. 

1.  Of  the  Human  Body  and  its  Limbs. 

Standing. —  The  posture  must  be  in  no  way  stiff,  forced  or  arti- 
ficial, but  free  and  unrestrained.  The  body,  from  crown  to  sole, 
must  form  a  perpendicular  line  (women  may  incline  the  head 
slightly  forward)  ;  the  line  of  gravity,  whether  the  feet  be  in 
contact  or  separated,  passing  as  nearly  as  possible  through  the 
centre  of  the  base.  If  the  line  of  gravity  falls  toward  either  end 
of  the  base,  that  is,  if  the  body  rests  too  much  on  one  leg,  these 
disadvantages  ensue  :  The  body,  by  reason  of  a  slight  weariness, 
is  forced  to  sustain  itself,  first  on  one  leg  and  then  on  the  other, 
and  thus  mar  every  impression  of  decorum  or  grace  ;  the  hip, 
on  the  side  on  which  the  body  rests,  will  protrude  and  produce 
an  awkward  appearance  ;  the  upper  part  of  the  body  is  also 
thrown  out  of  the  vertical  line,  and  the  shoulders,  in  the  move- 
ments of  the  arms,  will  form  oblique  lines.  The  most  conven- 
ient, and,  at  the  same  time,  most  agreeable  position,  is  that 
designated  in  dancing  as  the  fourth,  in  which  that  foot  is  placed 
forward  which  is  on  the  side  of  the  person  addressed.  The  fore- 
most foot  must  always  stand  next  to  the  interlocutor  (Fig. 
XXIX.,  a).  Sustaining  the  body  on  this  foot,  and  setting  for- 
ward the  other,  is  the  mark  of  an  awkward  person. 

In  all  our  elucidations  we  refer  only  to  persons  in  cultured  circles.  If  the 
actor  has  to  personate  those  in  other  spheres,  he  must  take  lessons  from  life  in 
its  manifold  gradations,  omitting,  of  course,  everything  that  positively  offends 
the  aesthetic  sense. 

2.  The  Limbs  Singly,  in  a  State  of  Rest. 

Let  the  head  rest  lightly  and  gracefully  upon  the  neck,  held 
perpendicularly,  the  chin  being  in  a  horizontal  position,  and  the 


THE   PLASTIC.  59 

eyes  avoiding  a  fixed  upward  or  downward  look.  Let  the  mouth 
remain  closed,  but  not  with  compressed  lips,  and  breathing  take 
place  through  the  nose. 


Fig.  XXIX. 
The  most  beautiful  head,  especially  in  woman,  will  be  marred 
by  an  ungraceful  carriage,  as  the  finest  foot,  through  a  bad  posi- 
tion, will  lose  the  greater  part  of  its  beauty. 


6o 


ESTHETIC   PHYSICAL   CULTURE. 


The  shoulders  must  not  be  drawn  upward  or  forward,  but 
should  be  drawn  somewhat  backward,  their  horizontal  line  be- 
ing preserved.     On  no  account  should  we  seek  to  emphasize  tone 


Fig.  XXIX.,  a. 

or  word  by  a  rising  or  falling  of  the  shoulders.     The  shrug  of 
the  shoulders  is,  of  course,  excepted,  as  are  also  the  few  instances 


THE   PLASTIC.  6l 

in  which  a  movement  of  the  shoulders  is  allowable.  Among 
these  are  the  representations  of  horror,  or  of  sudden  terror,  in 
which  the  neck  and  head  sink  down  between  the  raised  shoul- 
ders. 

Avoid  a  forced  expansion  of  the  chest,  as  it  produces  an  im- 
pression of  stiffness  ;  still  less  must  the  chest  be  drawn  inward. 
If  this  rule  is  strictly  followed,  crookedness  of  the  back  is  im- 
possible. 

The  abdomen  should  be  drawn  in  somewhat.  The  arms  must 
hang  lightly  and  gracefully,  and  the  drawing  back  of  the  elbows 
(a  frequent  fault  in  women)  should  be  avoided.  The  carriage  of 
the  hands  should  be  easy  and  unrestrained,  the  upper  palms  for- 
ward and  the  thumbs  turned  toward  the  thigh,  yet  in  such  a  way 
that  the  thumb  is  visible  (Fig.  X.).  In  women  the  hands  should 
be  rather  more  forward  (Fig.  X.,  d). 

In  the  ^'  rococo  age  "  the  ladies  held  the  hands  in  the  follow- 
ing way  :  The  upper  arm  was  kept  vertical,  the  lower  arm  hung 
lightly  forward  along  the  waist,  and  the  right  hand  was  laid  on 
the  left  with  its  finger  clasping  it.  This  carriage  of  the  hands  is 
still,  in  our  day,  the  most  becoming.  It  is  against  the  rules  of 
decorum  with  both  sexes  to  thrust  the  hands  on  the  hips,  or  hold 
them  crossed  over  the  stomach,  or  lay  them  —  in  conversation 
with  a  person  of  higher  rank  —  behind  the  back,  or  to  thru-st  them 
into  the  pockets. 

In  the  last  century  it  was  no  breach  of  etiquette  to  place  the 
hands  inside  the  waistcoat ;  but  they  were  never  thrust  into  the 
pockets,  least  of  all  into  the  pockets  of  the  pantaloons. 

The  fingers  must  be  neither  spread  apart  nor  compressed,  but 
each  finger  must  keep  its  own  place  somewhat  apart  from  the 
others;  they  should  be  bent  but  slightly,  the  index  finger  least, 
the  little  finger  most  of  all. 

The  knees  must  not  bend  outward;  neither  must  they  be  much 
drawn  inward.  In  the  one  case  laxness  is  indicated  ;  in  the 
other,  stiffness. 


62  ESTHETIC    PHYSICAL    CULTURE. 

When  one  addresses  a  person  of  his  own  rank,  the  feet  gener- 
ally assume  the  fourth  position  ;  when  a  person  to  whom  he 
would  pay  deference,  the  first  position.  In  the  ^'rococo  age" 
the  feet  were  likewise  held  in  the  fourth  position,  but  were 
brought  nearer  and  nearer  to  the  third,  as  the  person  addressed 
demanded  more  respect,  until  before  a  prince  the  third  position 
was  fully  assumed,  but  never  the  first.  (See  Figs.  LXVI.  and 
LXVII.)  This  position  was  reserved  only  for  soldiers  and  ser- 
vants, or  for  persons  receiving  an  order  or  a  command. 

J.  Movement  of  the  Arms  and  Hands. 

Here  all  angularity  and  all  parallels  must  be  strictly  avoided. 
Practice  of  the  hand  and  arm  exercises  already  given  will  ensure 
the  student  against  these  faults.  Emphasizing  what  has  been 
said  on  this  subject,  we  proceed  to  treat  of  movements  of  the 
arms  and  hands.  All  such  movements  are  based  upon  the  p07^t 
de  bras  of  the  art  of  dancing. 

In  every  movement  of  the  arms  outward  from  the  base  posi- 
tion, the  impulse  to  the  movement,  as  we  have  already  learned, 
should  be  given  by  the  upper  arm,  which  must  appear  to  draw 


/    z       3      ^      ^     e 

Fig.  XXX. 

the  lower  arm  and  hand  after  it.  Any  movement  of  the  arms,  to 
be  truly  plastic,  must  conform  to  Hogarth's  line  of  beauty.  Let 
us  explain  this  line. 

Of  all  lines,  the  wavy  line  has  the  purest  aesthetic  form  ;  the 


THE   PLASTIC.  63 

slight  curvature,  the  gentle  transition  from  one  direction  to 
another,  make  this  line  the  most  pleasing  of  all  to  the  eye,  and 
give  it  the  first  place  in  aesthetics.  The  wavy  line  can  be  varied 
infinitely.  Hogarth,  from  a  row  of  curved  lines,  the  first  of 
which  curves  but  slightly,  the  next  curving  more,  and  so  on,  se- 
lects the  middle  line  as  the  most  perfect,  and  calls  it  the  li7ie  of 
beauty  (Fig.  XXX.,  4).  Numbers  5,  6  and  7  become  ungraceful 
because  they  curve  too  much,  while  numbers  3,  2  and  i  are  too 
straight ;  hence  4  is  the  chosen  line.  Hogarth  himself  says  of 
this  wavy  line  :  ''  It  is  known  that  bodies  in  motion  always  de- 
scribe a  line  in  the  air.  For  example,  the  firebrand  flung  hastily 
creates  a  circle  for  every  eye  ;  the  waterfall  a  curve  ;  the  ship 
upon  the  billows  a  wavy  line,  etc.  So,  also,  the  organic  body 
when  it  moves  entire,  or  only  one  limb.     For  instance,  in  break- 


FiG.  XXXI. 
ing  a  wild,  beautiful  horse,  which  rushes  on  without  a  rider,  we 
remark  a  long  curve  line  in  the  way  in  whjch  it  sweeps  through 
the  air.  This  will  all  the  more  forcibly  strike  the  eye  in  the 
human  body,  if  we  compare  its  movements  with  the  straight 
lines  of  the  puppet  (Fig.  XXXI.).  The  effect  of  the  curve  line 
may  be  noticed  when  one  reaches  a  fan  or  some  such  object  to 
a  lady."  * 

Figure  XXXII.  exhibits  on  the  right  hand  side  the  angular  pup- 
pet movements,  as  Figure  XXXI.,  and  on  the  left  hand  side  the 
movements  conforming  to  Hogarth's  wavy  line. 


64 


ESTHETIC   PHYSICAL    CULTURE. 


All  movements  of  the  arms,  to  be  performed  aesthetically,  must 
conform  to  this  line  of  beauty.  Suppose,  for  example,  that  the 
hand  (Fig.  XXXIL)  is  to  be  moved  from  the  base  position  to 


FiS.  XXXII. 

any  of  the  five  points  marked  down  on  the  curved  line  a-d  ;  the 
path  of  the  movement  must  be  none  other  than  the  dotted  wavy 


THE   PLASTIC.  65 

line  drawn  to  that  point.  If  the  hand  is  made  to  describe 
the  straight  lines  c-g,  g-d^  we  shall  fall  into  the  puppet  move- 
ment (Fig.  XXXI. ).  Even  a  repellent  movement,  whether  great 
or  slight,  quick  or  slow,  must  take  the  direction  of  the  wavy  line. 

This  is  the  fundamental  rule  for  all  arm  movements,  and  its 
various  modifications  arise  only  from  the  greater  or  less  curva- 
ture of  this  line  described  by  the  hand.  Beginners,  and  even 
those  who  have  belonged  for  years  to  the  stage,  constantly  of- 
fend the  eye  by  following  the  straight  lines  Cy  g,  d,  in  arm  move- 
ments. Every  one  feels  and  derides  the  helplessness,  angularity 
and  absurd  stiffness  of  this  kind  of  movement  without  under- 
standing its  cause.  If  one  understands  the  Hogarth  line  of 
beauty,  he  has  reached  a  standpoint  the  attainment  of  which 
would  require  years  without  this  knowledge.  If  he  directs  his 
movements  in  accordance  with  it,  angularity  and  stiffness  at 
once  vanish. 

When  the  arm  falls  back  to  its  base  position,  the  Hogarth  line  of 
beauty  must  also  be  strictly  observed.  While  in  every  move- 
ment of  the  arm  from  the  base  position  the  impulse  is  given  by 
the  upper  arm,  in  every  movement  back  to  the  base  position  the 
hand  must  appear  as  giving  the  impulse. 

The  only  way  to  the  attainment  of  graceful,  dignified  move- 
ments, lies  in  the  observance  of  these  forms  and  their  modifica- 
tions, arising  from  situation,  individuality,  etc. 

These  lines  need  not  be  followed  with  school-boy  conscien- 
tiousness and  over-scrupulousness,  but  their  main  characteristics 
must  be  retained  under  all  circumstances.  Care  must  be  taken 
not  to  make  the  wavy  line  too  much  curved  or  serpentine,  as  in 
Figure  XXX.,  7  ;  and  on  the  other  hand  one  must  avoid  too 
slight  curvature,  which  may  degenerate  into  straight  lines. 

Let  those  who  are  inclined  to  deride  all  this  as  pedantry,  ob- 
serve the  grace  of  a  danseuse^  her  admirable  ease  and  lightness, 
the  round  movements  of  her  limbs,  and  reflect  that  without  fun- 
damental rules  she  could   not  have    learned    all    this  which   so 

5 


66        ^  /ESTHETIC    PHYSICAL    CULTURE. 

charms  and  delights  us.  She  has  so  long  practiced  this  one  rule 
of  Hogarth's  that  every  movement  has  become  facile  and  pleas- 
ing. 

At  the  beginning  of  this  book  we  declared  utterly  false  that 
method  of  most  teachers,  who  give  certain  studied  movements 
for  all  human  passions,  whether  joy  or  sorrow.  All  that  is  nec- 
essary is  a  fundamental  rule,  however  pedantic  it  may  appear  to 
the  superficial  student.  The  finer  shades  must  be  sought  out 
by  him  ;  only  in  this  way  can  he  prove  his  originality. 

Only  when  I  know  a  theme  perfectly,  can  I  ?nake  variations 
-upon  it. 

In  plastic  aesthetics  it  is  not  allowable,  if  simple,  passionless 
emotions  are  to  be  depicted,  to  let  the  arm  movement  extend 
beyond  the  height  of  the  shoulder.  All  emotions,  which  are 
not  manifested  in  exalted  language,  must  have  their  expression, 
so  far  as  arm  movements  are  concerned,  inside  of  the  following 
positions  of  the  arm  :    The  first,  second  and  third  a   (see  Fig. 


Fig.  XXXIII. 
LXVIII.,  a,  the  space  between  a,  d,  e,  and   Fig.   XXVII.,  the 
space  between  i  and  4),  that  is,  within  the  limits  the  hands  can 
describe  from  the  base  position,  sideward  and  forward. 

How  ugly  and  unskilful  is  it  when  Tamino,  in  replying  to  the 
question,  ^' Who  will  give  us  an  answer?"  accompanies  the  words 


THE   PLASTIC. 


67 


■^^The  gods  !  "  with  the  movement  exhibited  in  Figure  XXXIII., 
instead  of  making  the  movement  in  Figure  XXXIV! 

Passionate,  eccentric  emotions  find  their  expression  in  the  do- 
main of  the  high  port  de  bras  ;  viz.,  in  the  third  position  (b)  of 
the  arms  ;  that  is,  the  arms,  in  such  moments,  pass  beyond  the 
shoulders  over  the  space  between  d,  a^  b  (Fig.  LXVIII.,  ^),  and 
over  the  space  3  and  4  in  Figure  XXVII.  These  distinctions 
must  be  closely  observed  in  dramatic  representation,  if  one  would 
work  aesthetically. 

The  higher  the  position  of  the  person,  the  lower  and  the  less 
frequent  will  be  the  movements  of  the  lower  arms  and  hands;  the 
lower  the  position,  the  more  uncultured  the  person,  the  higher 


Fig.  XXXIV. 


and  more  frequent  will  be  the  movements.  The  man  of  culture, 
in  general  conversation,  never  allows  the  gesture  to  pass  beyond 
the  region  of  the  shoulder. 

The  arm  movements  must  not  be  jerky  or  inharmonious  ;  they 
must  proceed  in  gentle  gradations  one  from  the  other.  A  piece 
of  music  should  not  be  abruptly  broken  off ;  neither  should  an 
arm  movement  end  suddenly.  To  use  a  musical  simile,  it  should 
die  away,  except  when  horror  or  some  sudden  excitement  ends  it 
abruptly. 


6S  ESTHETIC   PHYSICAL   CULTURE. 

The  nobler  a  person,  the  loftier  his  position,  the  more  rounded 
and  pleasing  will  be  his  movements  ;  the  more  ignoble  the  per- 
son, the  more  unsymmetrical,  angular  and  restless  will  they  be. 
The  first  rule  in  arm  movements  is  this  :  As  little  movement  as 
possible.  A  French  author  says  :  ''Dignity  has  no  arms."  These 
few  words  embody  all  rules. 

If  the  hands  are  folded  in  front,  one  rule  must  be  strictly  ob- 
served :  The  folded  arms  must  move  only  in  the  space  described 
by  the  line  e-/,  Figure  XXXIL,  and  exceptionally  in  the  third 
position  a  (see  ¥ig.  LXVIIL,  ^,  a). 


Fig.  XXXV. 

It  is  wholly  false  and  contrary  to  all  plastic  rules  to  raise  the 
clasped  hands  in  front  of  the  nose,  with  the  elbows  raised  horizon- 
tally, as  in  Figure  XXXV.  Aside  from  the  fact  that  this  is  un- 
plastic,  it  hides  the  expression  of  the  face,  which  is  the  main 
thing  at  such  moments.  The  highest  point  to  which  the  clasped 
hands  may  be  carried,  is/  in  Figure  XXXII. 

If  the  arms  are  extended  imploringly,  they  must  not  pass  be- 
yond the  point  just  designated.  Care  must  be  taken  that  the 
elbows  do  not  protrude  sideways,  but  remain  as  in  Figure  XXXVI. 
Only  in  moments  of  despair  is  it  allowable  to  raise  the  clasped 
hands  above  the  head.  In  this  case,  when  they  reach  the  level 
of  the  face,  they  are  inverted,  the  palms  upward  without  being 


THE   PLASTIC. 


69 


separated,  the  fingers  remaining  clasped,  and  are  thus  Hfted  above 
the  head. 

To  avoid  parallels  with  the  arms  and  hands  (Fig.  XXXVII.), 
care  should  be  taken,  while  in  action,  to  have  one  arm  and  hand 
in  a  different  position  from  the  other  (Fig.  XXXVIIL). 


Fig.  XXXVI. 

When  the  hand  is  placed  upon  the  breast,  as  in  protestation, 
the  fingers  should  be  in  their  natural  position,  neither  far  apart 
nor  pressed  closely  together.     The  hand  should  be  placed  upon 


Fig.  XXXVII. 

the  heart,  and  not,  as  constantly  happens,  upon  the  bosom.  If 
both  hands  are  laid  upon  the  chest,  one  should  be  in  the  region 
of  the  heart,  the  other  above  it,  as  in  Figure  XXXIX.,  a. 


70  ESTHETIC    PHYSICAL    CULTURE. 

We  may  be  allowed  to  refer  to  many  violations  of  this  rule^ 
as  well  as  to  some  gaucheries^  which  are  altogether  too  fre- 
quent. 

Many  young  actors  seem  to  be  in  doubt  as  to  where  their  in- 
ternal organs  lie.  When,  for  instance,  Tamino  sings,  "  I  feel  it,"" 
placing  his  right  hand  passionately  upon  the  left  shoulder,  and 
extending  the  elbow  horizontally,  as  in  Figure  XL.,  one  would 
infer  that  his  heart  lies  there.  Or  when  Pamina  sings,  "  Ah,  I 
feel  it !  It  has  vanished  !  "  and  instead  of  simply  placing  one  or 
both  hands  on  her  heart,  covers  her  bosom  with  her  hands,  and 


Fig.  XXXVIII. 

in  that  region  where  the  neck  begins  (Fig.  XLL).  What  shall 
we  say  of  Pamina's  feelings  ? 

There  are  so  many  of  these  faults  that  we  need  only  mention 
them  to  warn  our  readers  against  them  : 

Constant  rubbing  of  the  hands. 

Planting  the  hands  in  the  sides. 

Thrusting  them  into  the  pockets. 

Biting  the  nails,  or  gazing  at  them  to  relieve  an  embarrassed 
pause. 

Twirling  the  thumbs. 

Plucking  at  the  furniture  or  other  objects  around,  or  at  people. 


THE    PLASTIC. 


71 


Toying  with  or  pulling  at  the  button  of  the  person  to  whom 
one  is  speaking. 

Trifling  with  one's  watch  chain. 

Folding  the  hands  across  the  back  under  the  coat-tails,  etc. 


Fig.  XXXIX. 


Nothing  but  incessant  practice  of  the  port  de  bras,  as  given  in 
Figure  XXVII.,  will  enable  one  to  execute  the  arm  movements 
easily  and  gracefully  according  to  the  rules  laid  down.     When 


Fig.  XXXIX.,  a, 

this  has  been  done  so  thoroughly  that  the  whole  comes  to  the 
pupil  without  effort,  he  may  be  certain  that  his  movements  will 


72 


ESTHETIC    PHYSICAL   CULTURE. 


be  neither  stiff,  angular,  clumsy  nor  awkward,  unless  he  makes 
them  so  designedly.  At  the  slightest  ungainly  movement,  he 
must  recall  the  fundamental  rule,  which  must  have  become  so 


Fig.  XL. 

much  a  part  of  him  that  his  movements  will  be  involuntary  —  an 
outcome  of  his  very  life.  No  actor  should  appear  before  the 
public  before  becoming  a  perfect  master  of  these  arm  movements. 


Fig.  XLI. 

The  public,  which  pays  its  entrance  fee,  should  not  be  tortured 
with  bad  gymnastic  efforts  dictated  by  no  rule,  and  which,  save 
in  a  few  exceptional  cases,  can  produce  no  true  aesthetic  move- 
ment. 


THE    PLASTIC.  73 

MOVEMENTS. 

I.    Walking  in  General. 

We  know  the  mechanism  of  walking,  and  shall  now  consider  it 
from  an  aesthetic  standpoint.  It  is  important  to  note  that,  in 
walking,  the  body  is  not  thrown  to  and  fro,  or  back  and  forth, 
at  every  step,  but  that  the  leg  movements,  beginning  at  the  hips, 
in  no  way  affect  the  upper  part  of  the  body  which  only  inclines 
slightly  forward.  A  certain  equality  must  also  be  observed  in 
the  length  of  the  steps  and  the  tempo;  that  is,  short  and  long 
steps  must  not  alternate,  as  this  makes  the  gait  awkward  or 
affected. 

Among  the  faults  to  be  avoided  are: 

Walking  with  stiff  legs. 

Walking  with  a  too  rapid  uplifting  of  the  toes  or  heels. 

Walking  with  a  decidedly  forward  inclination  of  the  upper 
part  of  the  body. 

A  tripping  gait. 

A  dancing,  skipping  gait. 

Walking  as  if  upon  india-rubber  soles. 

A  stiff  gait. 

Walking  with  the  arms  held  stiffly  forward,  or  moved  about  too 
much. 

Too  rapid  a  gait. 

A  creeping,  or  slipping  gait. 

Too  heavy  a  step,  etc. 

We  need  not  dwell  upon  these  bad  habits  ;  it  suffices  to  name 
them. 

2.  The  Walking  of  Ladies  with  Trains. 
Who  has  not  often  seen  in  private  life,  as  well  as  on  the  stage, 
ladies  with  long  trains,  who  at  every  half-dozen  steps  seemed  on 
the  point  of  falling  by  stepping  on  their  own  clothes  ?  We  have 
witnessed  this  with  the  firm  conviction  that  it  could  not  be  rem- 
edied, that  the  unfortunate  ladies  must  yield  to  their  fate.     But 


74  yESTHETIC   PHYSICAL   CULTURE. 

a  little  consideration  of  our  rules  in  regard  to  walking  will  ex- 
plain the  reason  of  all  this.  These  ladies  do  not  walk  right; 
they  set  down  the  back  of  the  heel  first,  and  then  the  toes;  their 
gait  lacks  energy.  This  stepping  upon  the  dress  may  be  easily 
avoided. 

What  an  aspect  would  an  Iphigenia  present  if,  upon  stepping 
forward  in  her  sacred  grove,  while  holding  up  her  veil  artistically 
with  one  hand,  she  should  lift  her  robe  in  front  with  the  other, 
or  step  upon  it  repeatedly,  in  beginning  her  monologue: 

**  Out  here  in  your  shadows,  etc." 

But  how  can  such  a  defect  be  avoided?  Simply  by  setting 
down  the  lower  part  of  the  heel  and  the  ball  of  the  foot  at  the 
same  time,  and  making  the  forward  step  with  decided  energy, 
with  the  toes  turned  outward,  and  yet  held  firmly  downward,  as 
if  the  person  would  push  her  skirts  before  her  at  every  step.  If 
the  heel  is  first  set  upon  the  floor,  or  if  the  required  energy  is 
wanting,  treading  upon  the  dress  is  unavoidable,  and  no  trem- 
bling or  wishing  that  this  may  not  happen,  will  prevent  it. 

A  lady  versed  in  ordinary  walking,  should  practice  walking  in 
trained  robes,  otherwise,  whether  she  belong  to  the  stage  or  to 
the  salon^  she  will  not  produce  the  impression  of  noblesse. 

The  walk  backward  is  executed  in  the  manner  already  de- 
scribed in  Part  First,  but  care  must  be  taken  that  the  toes  are 
turned  outward  as  far  as  possible,  and  at  every  step  the  dress 
must  be  lifted  with  the  side  of  the  foot.  The  feet  must  be  set 
back  somewhat  obliquely,  and  not  in  a  direct  line. 

My  lady  pupils  have  found  these  rules  of  great  practical  benefit.  Many  who 
have  long  been  connected  with  the  stage,  assure  me,  that  anxiety  lest  they  might 
step  upon  their  dresses,  has  caused  the  failure  of  many  a  role. 

This  practice  in  long  dresses  must  be  followed  until  such  ease 
is  acquired,  that  it  would  seem  as  if  the  ladies  had  never  worn 
any  other.  Most  ladies  now  give  the  impression  of  appearing  in 
a  trained  robe  for  the  first  time.     Whether  upon  the  stage  or  in 


THE    PLASTIC.  ^^^^ift^^ 

the  sa/on,  a  lady  should  seem  to  be  perfectly  at  home  and  in  her 
own  sphere. 

J.  TAe  Lifting  of  a  Ladys  Dress  in  Walking. 
To  lift  the  dress  on  both  sides  at  once  is  awkward  and  un- 
sightly. In  lifting  the  skirt,  it  should  be  taken  lightly  between 
the  thumb  and  forefinger,  and  gathered  into  graceful  folds  with 
the  other  fingers,  the  arm  being  drawn  somewhat  forward.  This 
is  the  most  pleasing  and  decorous  way  of  lifting  the  dress.  The 
train  must  be  so  held  that  the  lining  does  not  come  outside,  and 
the  underskirts  are  not  visible. 

4.    Turning  to  the  Right  and  Left  in  Walking. 
In  changing  one's  direction  in  walking,  one  foot  must  not  be 
set  over  the  other,  but  the  foot  on  the  side  to  which  one  turns 
must  take  the  first  step  in  the  new  direction.     The  turning  is 
performed  on  the  ball  of  the  stationary  foot. 

5.  Turning  to  the  Right  or  Left  while  Standing. 
If  in  standing  between  two  persons,  one  has  to  speak  to  each 
alternatively,  he  turns  upon  the  balls  of  both  feet,  lifting  only  the 
heel  from  the  floor,  so  that  on  the  right  hand  side  the  right  foot 
and  on  the  left  hand  side  the  left  foot,  stands  in  the  fourth  posi- 
tion. All  grace  vanishes,  if,  in  turning  from  right  to  left  or  vice 
versa,  several  steps  are  taken. 

6.  Walking  Sideward. 
If  one  has  to  take  several  side  steps,  he  extends  the  foot  side- 
way  and  without  turning  the  body  (second  position),  drawing  the 
other  foot  into  the  fifth  position  or  beyond  it,  behind  the  foot 
that  is  set  sideway  ;  he  then  passes  again  into  the  second  posi- 
tion, drawing  the  other  foot  up  into  the  first.  It  looks  very  awk- 
ward to  turn  the  whole  body  for  two  side  steps  ;  as  when  they 
are  made,  it  must  naturally  turn  again.  Ladies  with  long  trains 
must  carefully  observe  these  precepts. 


*]6  vESTHETIC    PHYSICAL   CULTURE. 

7.   Stepping  Sideward  with  Bowing. 

If  one  has  to  make  an  obeisance  while  stepping  to  one  side,  he 
must  take  two  steps  while  turning  the  body,  and  make  the  bow. 
The  first  step  is  not  taken  in  the  second  position,  but  in  the  fourth, 
the  centre  of  gravity  being  carried  over  to  this  foot,  while  the  other 
foot  passes  into  the  fifth  position  behind  the  first,  which  is  there- 
upon placed  in  the  second  position  to  prepare  the  bow.  If  the 
movement  demands  more  than  the  two  steps,  then  in  this  case, 
also,  the  foot  first  moved  is  placed  in  the  fourth  position,  but  the 
other  foot,  instead  of  being  carried  back  into  the  fifth  position, 
is  only  brought  into  the  first  and,  without  being  set  down,  makes 
a  backward  step,  followed  by  others  as  the  occasion  requires. 
The  last  step  (the  one  preparatory  to  bowing),  is  taken  sideward 
in  the  second  position  ;  the  other  foot  then  passes  into  the  first 
position,  and  the  bow  is  made. 

With  our  modern  ladies,  the  last  step  is  not  a  sideward  step, 
but  the  foot  which  is  drawn  back  last  is  placed  in  the  third  posi- 
tion, and  the  bow  immediately  follows;  /.  ^.,  the  knees  are  bent, 
one  foot  drawn  back  and  the  other  drawn  after  it.  (See  the 
modern  compliment,  Part  Fourth.) 

8.    Turning  Round  in  Walking. 

If  one  has  to  turn  round  in  walking,  the  turning  should  be 
done  on  the  balls  of  the  feet  toward  the  side  of  the  posterior  foot, 
the  heels  being  slightly  elevated.  It  is  entirely  wrong,  in  turn- 
ing, to  set  the  foremost  foot  over  the  other,  and  it  is  contrary  to 
every  aesthetic  law. 

If  the  actor  strides  across  the  whole  breadth  of  the  stage,  and 
has  to  turn  and  retrace  his  steps,  he  must  turn  with  his  face  to 
the  audience  ;  that  is,  the  foot  nearest  the  audience  must,  at  the 
moment,  be  the  posterior  one.  To  turn,  as  it  were,  on  his  own 
axis,  and  with  his  back  to  the  audience,  is  allowable  only  when 
the  situation  demands  it. 

Although  the  barriers  have  fallen  which,  half  a  century  ago, 


THE   PLASTIC.  JJ 

forbade  the  dramatic  actor  to  turn  his  back  to  the  pubHc,  and  a 
more  free  and  natural  movement  is  now  allowable,  the  laws  of 
beauty  have  not  vanished  from  the  stage  —  must  never  vanish 
from  it.  Many  things  may  ^be  permitted,  but  still  be  ungainly. 
We  shall  refer  to  this  subject  again. 

p.    Turning  Round  7tihile  Standing. 

Turning  round  while  standing  must  be  performed  this  way  : 
If  the  person  stands  in  the  fourth  position,  he  should  always  turn 
toward  the  side  of  the  hindmost  foot.  While  the  foremost  foot 
turns  upon  the  ball,  the  other  foot  remains  upon  the  ball  during 
only  half  the  revolution,  the  other  half  being  made  on  the  heel, 
the  toes  being  turned  outward.  If  one  stands  with  the  heels  in 
contact  (first  position)  before  turning,  one  foot  must  take  a  slight 
step  backward,  and  the  turning  ensue  toward  this  side  the  same 
instant. 

lo.    Turning  in  the  Case  of  Women. 

If  a  lady  wears  a  dress  with  a  train,  the  following  rules  must 
be  strictly  observed  :  If  she  stands  in  the  fourth  position  with 
the  right  foot  forward,  before  turning,  this  foot  must  be  brought 
into  the  fourth  position  backward,  and  with  such  force  that  the 
train  is  thrust  backward  somewhat,  and  out  of  the  way.  The 
turning  then  takes  place  upon  the  ball  of  the  foot  just  set  back, 
the  other  foot  resting  upon  the  heel.  The  right  foot  must  not 
now  take  the  first  step,  since,  in  this  case,  she  would  be  sure  to 
step  upon  her  train  ;  but  the  left  foot  must  take  its  first  step  in 
a  half-sideway,  half-forward  direction. 

If  the  lady  stands  in  the  fourth  position  with  the  left  foot  for- 
ward, this  foot  must  pass  backward  and  the  turning  take  place 
toward  the  left.  If  she  stands  in  the  first,  second,  or  third  posi- 
tion, the  step  which  one  of  the  two  feet  takes  backward  must  be 
longer  than  usual,  and  more  decided.  The  stepping  forward, 
after  turning,  takes  place  in  the  same  way  as  already  described. 

A  pulling  of  the  train  to  the  right  or  left  in  lifting  it,  indicates 


7^  ESTHETIC    PHYSICAL    CULTURE. 

that  one  is  unaccustomed  to  the  wearing  of  such  a  dress.  Those 
ladies  only  who  avoid  this  and  similar  faults,  and  move  grace- 
fully in  such  clothes,  will  make  us  believe  that  they  are  accus- 
tomed to  wear  them. 

II.  Carriage  of  the  Arms  in  Walking. 
We  constantly  notice  an  awkwardness  in  the  carriage  of  the 
arms  while  walking,  especially  in  young  girls.  It  is  that  stiff, 
falling  of  the  arms  forward,  and  their  machine-like  jerking  up 
and  down  at  every  step.  The  arms  belong  to  the  side  of  the 
body  ;  and,  if  ladies  are  allowed  to  carry  their  arms  somewhat 
farther  forward,  this  is  only  when  in  repose  (Fig.  X.,  a).  In 
walking,  the  arms,  unless  they  have  something  to  do,  must  swing 
lightly  and  gracefully  at  the  side. 

12.    The  Opening  of  a  Door. 

If  one  has  to  open  a  door  from  the  outside,  if  the  knob  is  at 
his  left,  he  should  grasp  it  with  the  right  hand,  holding  his  hat 
in  his  left ;  the  right  foot  should  stand  upon  the  threshold,  the 
left  being  somewhat  in  the  rear,  and  sustaining  the  centre  of 
gravity.  As  he  opens  the  door,  the  right  foot  takes  the  first 
short  step  into  the  room,  the  left  foot  the  second.  As  the  centre 
of  gravity  has  now  fallen  back  upon  the  left  foot,  and  the  right 
foot  has  resumed  the  first  position,  the  right  hand,  which  has, 
until  now,  held  the  door-knob,  should  let  go  of  it,  leaving  the 
door  behind.  He  now  steps  to  the  left  into  the  second  sideway- 
forward  position,  and  using  this  step  as  a  preparation  for  compli- 
ments, the  bow  follows  with  a' drawing  forward  of  the  right  foot. 

By  taking  a  third  step  into  the  room,  one  passes  beyond  the 
reach  of  the  door  and  avoids  that  constantly  recurring  fatality  of 
having  it  thrust  against  one's  back  by  the  person  entering  imme- 
diately after. 

If,  on  entering,  the  door-knob  is  on  the  right,  all  these  move- 
ments should,  of  course,  be  reversed. 


THE   PLASTIC.  79 

If  one,  in  departing,  has  to  open  a  door  from  within,  he  should 
step  back  to  the  door  into  the  position  in  which  he  stood  after 
taking  the  second  step  upon  his  entrance.  Now,  bowing  his 
adieu,  he  should  grasp  the  door-knob  from  behind  with  the  hand 
next  to  it,  and  step  backward  over  the  threshold,  in  the  same 
manner  as  upon  his  entrance,  letting  go  the  inner  knob,  and 
closing  the  door  with  the  outer  one. 

Women  should  enter  in  the  same  manner,  only  that  one  more 
step  is  required. 

Great  care  must  be  taken  to  learn  these  rules.  A  person  is 
characterized  by  his  mere  silent  entrance  into  a  room. 

I  J.  The  Entrance  of  a  Servant. 
If  a  servant  enters  the  presence  of  his  master  or  mistress,  he 
never  pays  any  compliments  ;  when  he  withdraws,  he  does  so 
without  bowing.  (This  rule  is  constantly  violated  upon  the  stage.) 
The  servant  allows  every  one  he  ushers  in  to  precede  him,  and 
then  follows.  When* he  announces  a  visitor,  and  receives  per- 
mission for  him  to  enter,  he  does  not  open  the  door  from  within; 
he  leaves  the  room  and  opens  it  from  without.  If  a  servant 
enters  a  strange  room^  as  soon  as  the  door  closes  he  takes  a  step 
to  one  side  in  the  second  position,  passing  beyond  range  of  the 
door,  and  remaining  there  until  he  has  done  his  errand,  excepting 
when  he  has  something  to  deliver;  in  which  case  he  advances  to 
within  one  step's  distance  of  the  person  to  whom  he  is  sent. 

14.    The  Setting  of  a  Chair  for  Ones  Self  or  for  Others. 

If  one  has  to  set  a  chair,  he  does  not  take  it  by  one  side,  but, 
stepping  behind  it,  grasps  the  back  with  both  hands,  so  that' the 
thumbs  shall  come  forward,  the  index  fingers  upon  the  side,  and 
the  three  other  fingers  behind  its  back.  He  then  lifts  it  from 
the  floor,  and  passes  to  the  appointed  place  (Fig.  XLIL). 

If  a  servant  has  to  set  a  chair,  he  sets  it  down  lightly  and  then 
steps  back.     If  one  sets  a  chair  for  himself,  he  takes  it  to  within 


8o 


.ESTHETIC    PHYSICAL   CULTURE. 


two  Steps  of  the  required  place.  (The  rank  of  the  person  near 
whom  he  sets  it,  determines  the  distance.)  He  then  sets  the 
chair  down  lightly,  first  upon   the  fore  feet,  then  with   his  eyes 


Fig.  XLII. 

fixed  upon  the  person  near  whom  he  is  about  to  sit,  he  steps  in 
in  front  of  the  chair  and  sits  down  (Fig.  XLIII.). 

75.   Seating  One  s  Self  icpon  a  Chair  already  Placed. 

The  general  rule  is  as  follows;  its  finer  shades  must  be  left  to 
each  individual  : 

For  Gentlemen. —  If  the  chair  is  at  the  left,  as  in  Figure  XLIII., 
one  places  himself  beside  it  in  the  first  position  ;  then  takes  a 
step  forward  with  the  right  foot,  carrying  the  other  foot  into  the 
first  and  without  stepping  into  the  second  position,  to  the  front 
of  the  chair.     Then,  with  his  face  toward  the  person  near  whom 


XPE    PLASTIC.  .  8l 

he  is  to  seat  himself,  he  lets  himself  easily  down  upon  the  middle 
of  the  chair,  without  leaning  against  its  back. 


Fig.  XLIII. 

In  sitting  between  two  persons,  one  of  whom  is  of  higher  rank 
than  the  other,  the  face  should  be  turned  more  toward  the  first  ; 
if  between  a  gentleman  and  a  lady,  the  lady  has  the  preference. 

To  look  around  at  the  chair,  before  sitting  down,  is  highly  im- 
proper. 

The  sitting  down  must  not  be  hasty.  The  body  must  be  as 
erect  as  possible,  without  stiffness. 

If  one  has  a  sword  at  his  side,  in  sitting  down  he  draws  it  for- 
ward with  the  left  hand;  when  seated,  he  lets  it  glide  back  to  his 
side. 

It  is  not  allowable  to  draw  the  coat-tails  forward  with  both 
6 


82  ESTHETIC    PHYSICAL   CULTURE. 

hands  before  sitting  down,  unless  in  the  slightest  degree,  and 
without  occasioning  remark.  It  is  better  left  undone,  as  is  the 
practice  with  all  polished  gentlemen. 

For  Ladies.  —  Ladies  who,  in  the  costume  of  the  "rococo" 
age,  cannot  feel  the  chair  on  account  of  their  hooped  skirts,  find 
it  very  difficult  to  seat  themselves  well.  There  is  constant  dan- 
ger of  shoving  the  chair  back  with  their  skirts.  They  must, 
therefore,  exactly  measure  the  distance  before  sitting  down,  and 
take  their  backward  steps  accordingly.  Before  seating  them- 
selves they  should  draw  the  dress  slightly  forward  with  the 
hand  farthest  from  the  person  near  whom  they  are  to  be  seated, 
letting  it  fall  again  at  the  side.  The  other  hand  should  be  held 
in  readiness  for  the  possibility  of  the  chair  being  shoved  back- 
ward. In  this  case  they  must  grasp  the  back  of  the  chair  from 
behind.  If  a  lady  seats  herself  upon  a  sofa,  or  anything  firm, 
she  can  use  both  hands  in  drawing  her  skirts  forward  slightly 
from  the  sides,  letting  them  fall  back  as  soon  as  she  is  seated. 

It  is  decidedly  '^  bad  form  "  to  draw  the  skirts  forward  with  each 
hand  alternately,  prior  to  sitting  down.  It  is  just  as  inadmis- 
sible in  rising  to  grasp  them  from  behind,  and  to  seek,  through 
all  sorts  of  movements,  to  restore  them  to  order.  If  a  lady  has 
seated  herself  in  the  way  prescribed,  upon  rising  she  can  let  her 
dress  fall  quietly  back  into  its  natural  position  without  fear  of 
its  disarrangement. 

i6.  Kneeling. 

In  order  to  kneel  and  rise  properly  one  should  often  practice 
the  exercises  given  for  strengthening  the  imiscles.     (Part  Second.) 

Kneeling  takes  place  in  this  way  :  One  steps,  as  circumstances 
require,  more  or  less  near  the  person  before  whom  he  is  to  kneel, 
bending  the  knee  of  one  leg  while  he  allows  the  other  to  glide 
back  slowly  or  quickly,  with  the  foot  turned  outward,  the  great 
toe  only  passing  over  the  floor.  The  line  of  gravity  falls  upon 
the  foremost  leg,  only  a  slight  fraction  coming  upon  the  toes  of 
the  other  leg,  which  is  shoved  backward.     Then  one  sinks  upon 


THE   PLASTIC.  83 

the  knee  of  the  backward  leg,  which  (upon  the  stage)  should  be 
turned  toward  the  audience.  The  lower  part  of  the  forward  leg 
should  neither  form  an  acute  angle  with  the  upper  which  hap- 
pens if  the  knee  is  pressed  too  far  forward;  nor  an  obtuse  angle, 
which  happens  if  the  foot  is  set  too  far  forward;  it  should  form 
a  right  angle.  The  foot  of  the  kneeling  leg  should  not  have  its 
toes  turned  downward  and  inward,  but  outward  and  backward  as 
in  Figure  LXXVIII.  The  upper  part  of  the  body  should  be 
held  as  erect  as  possible,  but  not  stiff. 

Rising  should  take  place  with  the  aid  of  both  legs,  which  should 
elevate  the  body  in  such  a  way  that  the  line  of  gravity  may  fall 
in  the  middle  of  the  base  described  by  the  two  feet. 

If  the  body  is  so  far  erect  that  the  foremost  foot  may  sustain 
the  centre  of  gravity  alone,  the  hindmost  foot  is  drawn  slowly 
forward;  but  not  vice  versa. 

If  one  rises  quickly  with  the  upper  body  bent  forward,  the  per- 
son standing  in  front  will  almost  inevitably  be  inconvenienced. 

If  one  has  to  kneel  before  an  exalted  personage,  from  whom 
he  has  received  some  favor,  or  whose  hand  he  wishes  to  kiss,  he 
should  at  first  approach  within  the  distance  of  one  step,  and 
then  fall  on  his  knees  in  the  manner  indicated. 

To  kneel  two  or  three  steps  away  from  the  person,  is  awkward 
and  contrary  to  etiquette. 

Kneeling  on  both  legs  is  allowable  in  the  following  cases: 

(a)  In  the  prayers  of  Roman  Catholics,  where  this  is  required. 

(h)  In  moments  of  exalted  passion. 

(c)  In  extreme  old  age. 

(d)  By  slaves,  as  to  denote  the  utmost  degree  of  humiliation. 

(e)  In  country  people. 

(/)  In  representing  comic  situations,  mostly  by  servants  and 
chambermaids. 

If  one  would  rise,  from  his  kneeling  posture  (on  both  knees), 
the  foot  turned  from  the  public  first,  assumes  the  position  it  had 
when  kneeling  upon  one  knee,  in  which  case  the  rising  in  a  de- 


84  ESTHETIC    PHYSICAL    CULTURE. 

corous  way  comes  as  a  matter  of  course;  while,  in  opposite  cases, 
the  effect  is  unpleasant. 

In  falling  upon  both  knees,  the  upper  part  of  the  body  should 
not  bend  forward,  as  one  might  easily  fall  over,  but  it  should,  as 
far  as  possible,  sink  directly  into  the  knee. 

ij.  Lifting  Something  from  the  Floor. 

If  something  is  to  be  lifted  from  the  floor  or  laid  down,  this 
should  not  happen  in  a  sort  of  cowering  posture,  with  the  upper 
body  bent  forward  and  downward  (unless  this  is  demanded  in 
personation),  but  as  in  kneeling  by  bending  the  leg  turned  away 
from  the  public,  and  by  shoving  back  the  other^  leg  which  is 
toward  the  public,  and  upon  the  knee  of  which  one  falls. 

The  rising  takes  place  as  directed  under  the  head  of  ^'  Kneel- 
ing." 

In  a  rapid  execution  of  the  aforesaid  movement,  the  leg  that 
is  shoved  backward  does  not  come  at  all  into  a  full  kneeling  pos- 
ture; but  while  it  is  shoved  back,  the  forward  leg  bends  inward 
quickly,  almost  wholly  bearing  the  weight  of  the  body;  and  again 
stretches  itself  with  the  elasticity  of  a  spring,  while  the  backward 
leg  is  just  as  quickly  drawn  forward. 

The  knee-exercises  given  in  "  Physical  Gymnastics,"  now  come 
into  play,  it  being  almost  impossible  to  execute  the  movements 
here  given  without  this  practice. 

i8.  Falling  upon  the  Stage, 

The  finer  shades  of  such  falling  are  as  various  as  the  motives 
inciting  the  actor  to  fall.  An  attempt  to  describe  them  would 
be  absurd,  but  a  fundamental  rule  derived  from  long  experience 
as  an  actor,  will  be  in  place  here. 

Let  the  motive  for  falling  be  what  it  may,  the  actor  should 
always  begin  to  fall  from  the  feet,  in  accordance  with  the  funda- 
mental rule,  that^  is,  he  should  always  first  set  the  muscles  that 
rule  the  foot  and  knee-joints  out  of  action,  thus  sinking  into  his 
knees  (which  for  the  most  part  happens  sideward),  and  then  let 


THE    PLASTIC.  85 

the  upper  part  of  the  body  fall.  In  falling  forward  or  backward, 
this  main  rule  must  also  be  observed.  In  falling  forward,  it  must 
be  noted  that  both  arms,  stretched  forward,  reach  the  floor  sooner 
than  the  face,  serving  as  a  sort  of  protection;  in  falling  sideward, 
it  will  be  one  arm. 

i^.    The  Holding  of  the  Hat. 

In  our  time  which  is  distinguished  by  freedom  of  manners  and 
indifference  to  the  rules  of  etiquette,  there  are  no  fixed  rules  as  to 
how  the  gentleman  who  remains  for  a  long  time  uncovered,  must 
hold  or  carry  his  hat.  But  in  any  event,  the  following  may  be 
stated  as  a  rule:  Let  a  gentleman  hold  his  hat  as  he  will,  he  al- 
ways exactly  observes  one  rule:  he  does  not  shift  it  from  one  hand 
to  the  other;  this  betrays  the  man  without  tournure  in  private  life, 
and  upon  the  stage  the  uncultured  artist.  The  simplest  and  most 
decorous  way  of  holding  the  hat  is  this:  One  takes  with  the 
thumb,  the  index  and  middle  fingers,  that  part  of  the  brim  which 
covers  the  forehead,  and  in  this  manner  carries  the  hat  to  one  side, 
so  that  the  inner  surface  is  turned  toward  the  thigh,  the  arm 
hanging  in  its  natural  position  at  the  side  (Fig.  XXIX.,  a).  It  is 
awkward  to  hold  the  hat  before  one  so  that  those  standing  oppo- 
site can  see  into  it.  Neither  should  the  hat  be  taken  by  the  in- 
side, as  the  cleanest  hat  is  liable  to  soil  the  gloves  or  hands. 

In  saluting  a  person  you  meet,  for  instance  on  the  right,  take 
the  hat  from  the  head  with  the  left  hand,  and  vice  versa.  While 
you  stand  before  this  person  with  uncovered  head,  the  hand  hold- 
ing the  hat  should  hang  at  the  side,  its  inner  rim  turned  toward 
the  dress. 

Actors  should  bear  in  mind  that  in  the  "  rococo  "  time  (age  of 
Louis  XIV.,  XV.,  and  XVL  in  France)  if  one  took  the  hat  into 
the  salon^  he  carried  it  under -the  left  arm  in  the  manner  above 
described,  but  never  with  the  hand  hanging  down  at  the  side.  If 
he  had  a  chapeau  claque^  he  also  held  it  with  part  of  the  brim 
hanging  downward  before  him,  and  with  part  of  it  between  the 


86  ESTHETIC   PHYSICAL    CULTURE. 

thumb  and  finger  of  each  hand.     Servants  only  carried  the  hat 
in  the  one  hand  hanging  at  the  side. 

20.    The  Carrying  of  the  Fan. 

The  use  of  the  fan  is  very  ancient,  and  comes  from  Asia  and 
Africa,  where  palm-leaves  were  used  at  first,  and  peacock  and 
other  feathers  at  a  later  day.  Its  purpose  was  to  protect  the  face 
from  the  sun  or  to  move  the  air. 

In  the  Orient,  the  larger  fans  are  borne  by  slaves  before  or 
near  those  who  use  them;  each  person  holding  a  small  fan  him- 
self. A  Chinese  host,  when  the  heat  is  great,  after  the  tea  has 
been  drunk,  takes  a  fan  and  holding  it  in  both  hands,  says:  "I 
invite  you  to  use  the  fan."  Each  guest  then  takes  his  fan.  It 
would  be  impolite  for  the  host  to  have  none,  for  then  no  guest 
would  use  his  fan.  In  Greece  and  Rome  the  host  made  the  air 
cool  by  using  the  fan  himself  or  having  his  slaves  use  it.  Very 
costly  fans  were  carried  in  the  middle  ages.  Their  use  was  so 
general,  that  the  fan  became  an  indispensable  necessity  to  every 
well-bred  young  lady.  K  genuine  fan-language  arose  and  reached 
its  height  in  the  last  century.  The  French  Revolution  abolished 
the  fan,  and  only  in  recent  times  has  it  become  the  necessary  ad- 
junct of  the  fine  lady. 

Although  the  artistic  handling  of  the  fan,  which  characterized 
ladies  of  the  past  century,  is  not  demanded  of  those  of  the  pres- 
ent day,  still  we  may  at  least  demand  that  the  lady  who  carries 
a  fan,  shall  not  swing  it  around  uselessly  in  the  air,  or  use  it  in  an 
awkward  manner. 

As  in  gesture,  repose  is  always  made  the  main  principle  ;  this 
appjies  also  to  the  use  of  the  fan.  It  is  to  be  used  either  for 
moving  the  air,  or  to  be  held  quietly  in  the  hand  as  a  mere  orna- 
ment. But  the  manner  of  holding  it  must  always  indicate  ease 
and  a  knowledge  of  polite  usage,  else  one  does  better  not  to 
carry  it  at  all. 

We  find  in  Mereau's  little  work  the  simplest  and  most  decorous 
manner  of  carrying  the  fan  :  ^^  The  fan  must  be  so  held  between 


THE   PLASTIC.  8/ 

the  thumb  and  index  finger  of  the  right  hand,  that  its  upper  edge 
falls  downward.  Some  ladies  hold  their  fans  straight  before 
them,  and  in  such  a  way  that  the  upper  edge  almost  touches  the 
chin.  Others  hold  the  fan  under  the  left  arrp,  or  horizontally 
before  them.  These  various  methods  are  all  alike  faulty  and  in 
direct  contradiction  to  that  genuine  fine  breeding  we  expect  in 
a  lady  of  culture." 

If  a  lady  lets  the  upper  right  arm  fall  perpendicularly  to  the 
hip,  the  lower  arm  being  somewhat  bent,  the  position  of  the  fan- 
holding  arm  will  be  the  true  one  for  an  attitude  of  repose  (Fig. 
XXIX.).  Every  movement  of  the  fan  out  of  this  attitude  should 
be  made  with  the  wrist,  and  not  by  the  aid  of  the  whole  lower 
arm  (much  less  of  the  upper  arm).  Even  if  the  movement  be- 
comes greater,  and  the  whole  arm  takes  part  in  it,  the  main  stress 
must  lie  in  the  wrist. 

Here  the  necessity  of  wrist  practice,  as  given  in  Part  Second, 
becomes  evident.  Without  it  every  movement  of  the  fan  will  be 
a  forced  movement. 

21.   Carrying  a  Cane. 

If  one  carries  a  cane  on  account  of  lameness  or  general  weak- 
ness, no  directions  are  needed.  He  will  carry  it  as  the  nature  of 
the  malady  demands.  If  fashion  or  one's  own  pleasure  is  the 
motive,  it  is  quite  otherwise.  In  such  a  case  one  should  avoid 
shifting  the  cane  from  one  hand  to  the  other,  placing  it  across  the 
back  or  over  the  shoulders,  flourishing  it  in  the  air,  etc.  If  it  is 
a  light  walking  cane,  and  is  carried  for  pleasure,  a  playful  move- 
ment is  admissible  ;  but  with  a  stout  cane  all  useless  movement 
should  be  avoided,  and  the  carrying  of  the  cane  given  an  impres- 
sion of  the  utmost  ease. 

The  actor,  in  carrying  a  cane,  should  be  still  more  circumspect. 
Above  all,  he  should  avoid  carrying  it  outside  the  theatre.  Even 
Goethe  lays  down  this  law.  All  too  easily  does  he  become  ac- 
customed to  it,  and  its  lack  will  cause  him  great  annoyance  on 
the  stage.     If  neglected,  the  actor  will  contract  bad  habits  which 


88  ESTHETIC   PHYSICAL   CULTURE. 

will  annoy  him  upon  the  stage.  How  often  do  we  see  the  actor 
with  the  hand  that  usually  carries  the  cane,  restless  and  ill  at  ease, 
seeking  to  make  movements,  until  he  remembers  that  he  is  upon 
the  stage. 

The  actor  should  form  no  habits  which  he  cannot  renounce 
upon  the  stage.  Carrying  a  cane  is  allowed  him  only  when  the 
character  or  situation  demands  or  allows  it.  But  he  should  al- 
ways proceed  from  the  fundamental  rule  that  the  bearing  of  the 
cane  is  to  have  its  significance  to  the  spectators.  He  must  use 
all  outward  appliances  sparingly,  such  as  canes,  eye-glasses,  etc.; 
otherwise  he  weakens  their  significance.  In  their  use  he  should 
discriminate  exactly  whether  he  represents  a  personality  which 
actually  requires  them,  or  one  which  only  coquets  with  them. 
In  the  former  case,  he  brings  the  glass  directly  before  his  eye 
without  marked  preparation  ;  in  the  latter  with  more  or  less 
marked  movement  and  affectation. 

In  the  seventeenth  and  eighteenth  centuries  the  cane  was  an 
adjunct  of  full  dress,  and  played  a  distinguished  rdle.  It  was  a 
huge  Spanish  reed  with  a  gold  head  and  tassel  ;  was  grasped 
under  the  head  and  borne  usually  in  a  dignified  manner. 

22.  The  Use  of  the  Handkerchief. 
While,  in  every-day  life,  one  only  takes  his  handkerchief  in  his 
hand  when  h'e  really  needs  it,  we  see  that  upon  the  stage  this 
often  happens  unnecessarily.  With  ladies  this  is  excusable,  partly 
because  it  is  a  usual  custom  to  carry  the  handkerchief  in  the 
hand,  and  partly  because  the  handkerchief  (often  embroidered 
with  lace)  is  considered  a  requisite  of  the  toilet.  But  what  shall 
we  say  of  a  gentleman  who  is  always  seen  upon  the  stage  with 
handkerchief  in  hand,  passing  it  from  one  hand  to  the  other,  from 
breast-pocket  to  coat  and  other  pockets,  taking  it  out  the  next 
moment,  to  pass  it  over  mouth  or  beard  —  one  who  even  gesticu- 
lates in  presence  of  ladies  with  handkerchief  in  hand  ?  This  in- 
decorum has  so  passed  into  a  habit  with  many  actors  that  they 
cannot  play  certain  roles  without  the  handkerchief. 


THE  PLASTIC.  89 

It  is  only  a  fop  or  a  fool,  young  or  old,  who  takes  out  his  hand- 
kerchief every  moment  to  use  it  as  just  described.  The  actor  of 
fine  culture  does ''this  only  when  the  author's  purpose  demands  it 
(for  unforeseen  surprises,  to  represent  bleeding  at  the  nose,  to  dry 
the  forehead,  etc.);  but  never  to  trifle  with  it,  and  that  in  the 
presence  of  ladies. 

Neither  is  it  allowable  for  the  actor  to  take  out  the  handker- 
chief to  dry  his  tears.  In  the  first  place,  a  man  does  not  weep  ; 
in  the  second  place,  if  the  stage  business  actually  demands  that 
a  few  tears  be  shed,  he  does  not  dry  them  with  a  handkerchief. 
Here  propriety  allows  women  what  it  denies  to  men. 

The  gradations  of  the  real  purpose  which  renders  a  handker- 
chief necessary,  are  allowed  only  to  the  comic  actor  or  soubrette, 
and  that  only  in  rare  cases. 

2j.  The  Hand-kiss^ 
as  a  token  of  respect  or  reverence,  demands  several  degrees  in 
its  execution,  which  must  be  determined  by  the  rank  of  the  per- 
son who  kisses,  as  well  as  by  that  of  the  one  whose  hand  is  kissed. 
This  is  a  specialty  in  acting.  We  consider  the  hand-kiss  from 
the  aesthetic-plastic  standpoint,  and  hereby  present  it  in  two 
forms  : 

(a)  The  Hand-kiss  of  Thanks^  of  Entreaty  for  Forgiveness^  of 
Gallantry^  of  Lovers. —  Here  the  one  who  kisses,  takes  the  hand  of 
the  person  kissed,  lifts  it  slightly  from  the  normal  position,  bows 
down  to  it,  and  presses  the  kiss  inaudibly  upon  it.  It  is  exceed- 
ingly ill-bred  to  draw  the  hand  forward  without  bending  down  to 
it,  and  then  press  the  kiss  upon  it;  or  to  let  the  kiss  be  audible. 

This  always  indicates  the  man  devoid  of  fine  tact.  If  the 
lady's  hand  is  covered  with  a  glove,  the  hand  is  not  kissed,  but 
the  wrist.  In  case  the  lady  stands  at  the  right,  the  right  hand 
of  the  gentleman  grasps  her  left  hand  ;  if  she  stands  at  the  left, 
his  left  grasps  her  right  hand.  In  this  sort  of  a  kiss  the  normal 
position  is  usually  retained,  and  yet  with  a  slight  variation  if  love, 
reverence  or  gratitude  dictate  the  kiss.     The  lover,  in  his  pas- 


go  .ESTHETIC    PHYSICAL   CULTURE. 

sion,  will  raise  the  hand  of  the  beloved  somewhat  higher,  and 
only  bend  slightly  himself,  while,  in  the  first  case,  the  hand  is 
raised  only  a  little,  and  a  full  inclination  toward" it  takes  place. 

(d)  In  the  hand-kiss  of  etiquette,  especially  that  of  a  lower 
person  to  a  higher,  up  to  a  crowned  head,  the  one  who  kisses 
should  in  no  case  grasp  the  hand  and  raise  it.  It  will  be  held 
out  to  him,  and  he  slips  his  hand  (the  index  finger  uppermost) 
under  the  hand  he  is  to  kiss  so  that  his  own  forms  support,  and^ 
without  drawing  the  proffered  hand  out  of  its  position  in  the 
slightest  degree,  he  imprints  the  kiss  upon  it.  Slight  gradations 
enter  here,  as  everywhere,  on  account  of  higher  or  lower  rank. 
To  designate  these  would  be  absurd,  even  impossible.  We  have 
only  given  the  fundamental  rules. 

24.  Funda7nental  Rules  for  Position  if  Several  Persons  are  on  the 

Stage. 
If  several  persons  on  the  stage  engage  in  conversation,  the 
aesthetic  plastic  demands  that  this  happen  in  accordance  with  one 
rule,  which  is  simply  as  follows:  If  two  persons  standing  near 
each  other  have  to  converse  a  long  time,  they  must  take  especial 
care  to  avoid  the  profile  attitude,  through  which  the  sound  of 
their  words  in  the  coulisses  is  wholly  lost.  The  speaker  should 
stand  somewhat  back  of  the  listener,  so  that  at  least  three-fourths 
of  his  face  and  figure  are  toward  the  audience;  while  the  listener, 
without  incurring  the  reproach  of  stiffness  or  unnaturalness,  may 
stand  opposite  the  public  —  if  only  the  intention  of  listening  is  ex- 
pressed by  head  and  gesture.  Both  actors  would  do  well  to  fol- 
low the  above  rule,  so  that  the  speaker,  as  soon  as  he  ends,  may 
lightly  and  unremarked,  take  half  a  step  before  the  listener,  who 
recedes  half  a  step.  Naturally,  this  can  happen  only  in  more 
weighty  discourse;  in  brief,  disjointed  conversation,  both  stand 
with  three-fourths  profile  to  the  public,  without  stepping  forward 
or  backward.  It  is  exceedingly  unpleasant  to  have  both  actors, 
when  standing  near  each  other,  turn  their  faces  directly  to  the 
audience  reminding  one  of  puppets  which  can  move  only  upon 


5 

"'"^N 

/^> 

Fig, 

.  LXV. 

THE   PLASTIC.  9 1 

one  line.     Such  situations  may  happen,  yet   they  should  be  but 
momentary. 

If  three  or  more  persons  stand  near  one  another,  this  must 
never  be  in  a  direct  line  (drawn  from  one  side  of  the  stage  to  the 
other),  but  always  in  a  semi-circle.   (Figs.  XLIV.  and  XLV.)    If 


d  b 

c:^ 

Fig.  LXIV. 

six,  eight  or  more  persons  are  upon  the  stage,  and  all  take  part 
in  one  conversation,  they  may,  to  avoid  the  monotony  of  one  large 
semi-circle,  form  single  groups  of  three  or  four  in  small  half-cir- 
cles; but  all  these  must  lie  within  the  periphery  of  the  large  half- 
circle.     (Fig.  XLVI.) 

A-o     ^o     .^^ 

r  ^ 

£1^ 

Fig.  XLVI. 

This  figure  shows  fifteen  persons,  forming  five  single  groups; 
and  yet  the  whole  fifteen,  in  this  position,  represent  but  one 
group.  What  an  aspect  would  they  present  to  the  aesthetic  eye, 
did  they  stand  in  a  straight  line,  as  in  Figure  XLVIL,  or  in  one 

ooocooo     oooo     O     ooo 

Fig.  XLVIL 


92  ESTHETIC    PHYSICAL    CULTURE. 

convex  to  the  public,  as  in  the  lines  which  appear  in  Figure 
XLVIII!  Would  they  not  give  an  impression  of  the  utmost 
awkwardness  and  stiffness  ?  The  semi-circle,  on  the  other  hand, 
is  always  agreeable  to  the  aesthetic  eye. 


o 

o 

0 

o 

^   o  , 

o  o    o  o  ^ 

o 

o 

o 
o 

Fig. 

XLVIII. 

2j.  Position  of  Subordinates. 

The  German  manner  of  having  subordinates  always  stand  in 
the  rear  (thus  obliging  the  higher  personages  to  turn  around),  has 
already  been  deprecated  by  Ludwig  Schroder  in  his  "  Precepts 
of  the  Actor's  Art." 

Let  this  hero  of  the  German  stage  speak  for  himself:  "If  a 
servant  announces  some  one,  he  certainly  remains  at  the  door,  re- 
ceives his  orders  and  makes  his  exit.  This  is  grounded  in  our 
customs.  But  for  him  who  is  allowed  entrance,  whoever  he  may 
be,  there  is  upon  the  stage  no  front  or  rear,  or  in  other  words, 
he  is  subordinate  to  him  who  stands  nearer  the  footlights.  By 
this  position  he  facilitates  the  speech  and  play  of  the  leading 
character." 


CHAPTER  II. 

THE  MIMIC  ART. 

*  *  All  our  movements  are  merely  automatic,  and  express  nothing  if  the  face 
meantime  remains  dumb,  and  does  not  lend  them  soul  and  life." — 
Noverre's  Letters. 

INTRODUCTION. 

Mimic  art  is  either  the  talent  for  imitating  certain  individuals 
by  modifications  of  one's  own  body,  or  the  art  of  conforming  out- 
ward appearances  to  ideas  which  represent  inward  emotions.  It 
is -divided  (i)  into  face-movements  —  play  of  the  features,  and  (2) 
into  movements  of  the  whole  body  or  certain  parts  of  it  —  the 
play  of  gesture. 

True  to  the  purpose  of  this  book,  we  give  only  main  principles. 
Those  who  would  gain  a  thorough  knowledge  of  these  subjects, 
may  study  Engel's  excellent  work,  "  Ideas  upon  Acting;  "  Dr. 
Piderit's  "Principles  of  Mimic  Art  and  Physiognomy,"  and  Seck- 
endorf's  "  Lectures  on  Mimic  Art  and  Declamation." 

PLAY    OF    FEATURES. 

I.  General  Remarks. 
The  human  organism  has  the  capability  of  appropriating  out- 
ward impressions,  and  expressing  their  effect  in  the  lineaments  of 
the  face.  Men  are  distinguished  from  one  another  by  the  greater 
or  less  measure  of  this  capability.  Hence  the  features  of  the  face 
are  the  hand-writing  of  the  soul.  The  more  lively  a  man's  fancy 
and  the  more  cultured  his  mind,  the  easier  will  be  to  him  the  re- 
ception of  outward  impressions,  and  the  mirroring  them  in  the 
features  of  the  face.  The  actor,  who  does  not  actually  receive 
the  impulse  for  the  expression  to  be  reproduced,  from  the  out- 


94  ESTHETIC   PHYSICAL   CULTURE. 

side,  must  possess  the  liveliest  imagination  in  order  to  reproduce 
its  effect  in  his  facial  lineaments.  Hence  it  necessarily  follows  that 
those  only  can  be  actors  who  possess  this  peculiarity  in  a  high 
degree.  To  seek  to  acquire  it  by  the  aid  of  fixed  rules  is  a  vain 
attempt. 

A  lively  fancy  allows  all  impressions,  voluntary  and  involuntary, 
to  enter  into  the  features  ;  when  such  a  fancy  is  lacking,  all  de- 
scription of  the  muscles  of  the  face  and  their  manner  of  working 
is  useless,  and  must  result  only  in  most  complete  caricature. 

This  play  of  features  is  produced  by  the  muscles  of  the  face; 
hence  a  round,  full  face  with  its  muscles  all  enveloped  in  fat,  is 
little  calculated  to  mirror  the  emotions  of  the  soul.  Only  the 
eyes  are  left  it,  and  important  as  these  are  in  expression  they 
will  not  suffice  alone. 

The  actor's  first  task  is  to  acquire  ability  to  keep  the  facial 
muscles  in  perfect  repose.  Every  sitting  for  a  photographer, 
teaches  us  how  difficult  this  is.  The  proper  method  is  to  practice 
before  a  mirror,  first  single  muscles,  seeking  perfect  repose 
for  each,  or  to  move  each  group  of  muscles  singly  (as  those  of 
the  mouth),  taking  care  that  no  grimace  appears.  When  a  suffi- 
cient degree  of  mobility  has  been  brought  into  the  muscles  of  the 
face,  one  endeavors  to  express  all  passions  in  his  mien,  having 
first  gained  a  perfect  mental  grasp  of  each.  If  he  would  express 
sorrow,  joy,  etc.,  he  holds  the  features  fixed  for  a  moment  before 
gazing  into  the  mirror,  to  see  whether  the  muscles  of  the  face 
obey,  or  whether  they  must  be  aided  in  some  way.  The  features 
must  always  be  noble,  not  losing  this  character  even  in  the  high- 
est passion.  Eyes  and  mouth  are  most  important  in  this  play  of 
the  features. 

2.    The  Eyes. 
^' The  eye  is  the  mirror  of  the  soul."     The  eye  shows  us  the 
manner  in  which  the   impression  on  the  soul  is  gradually  de- 
veloped.    Its  importance  is  self-evident.     The  man  with  a  cold, 
staring  or  indifferent  eye,  had  best  renounce  the  idea  of  going 


THE    MIMIC    ART.  95 

upon  the  stage  ;  it  will  not  be  possible  for  him  to  awaken  sympa- 
thy or  convince  his  audience  that  he  feels  the  truth  of  what  he 
says. 

If  an  actor  wears  spectacles,  and  takes  them  off,  his  eyes  will 
wander  around  without  expression ;  it  will  be  difficult,  almost  impos- 
sible, for  him  to  give  them  expression.  If  one  has  naturally  wide- 
open  eyes  he  must  be  circumspect  in  the  portrayal  of  simple  emo- 
tions lest  an  unpleasant  sharpness  or  a  rigid  stare  enter  his  glance, 
when  he  opens  his  eyes  still  wider.  The  manner  of  entirely  clos- 
ing the  eyes,  of  uttering  whole  sentences,  now  and  then  suddenly 
opening  the  eyes,  is  quite  unpardonable.  There  is  a  play  of  the 
features  where  a  lowering  of  the  lids  so  that  the  eyes  seem 
closed,  is  effective  ;  but  this  must  not  become  stereotyped.  In 
this  case  the  spectator  does  not  see  several  individuals  personi- 
fied ;  he  sees  only  the  individuality  of  the  actor.  Too  great  mo- 
bility of  the  eyebrows  must  also  be  guarded  against,  and  likewise 
that  constant  contraction  of  the  forehead  which  may  easily  be- 
come a  grimace. .  It  is  not  allowable  to  let  the  eyes  sweep  around 
the  audience,  or  rest  here  and  there  upon  the  boxes.  In  this  way 
all  semblance  of  truth  is  lost. 

3.    The  Mouth. 

Next  to  the  eyes,  the  mouth  has  the  greatest  significance  in 
the  play  of  the  features.  When  all  the  muscles  of  the  mouth  are 
in  normal  tension,  the  mouth  line  is  waving  and  beautiful.  (Fig. 
XLIX.)  In  this  position  all  undue  tension  of  the  muscles  is  to 
be  avoided;  in  speaking  and  singing  this  must  also  be  guarded 
against,,  else  the  mouth  may  assume  a  forced  or  even  ignoble  ex- 
pression. Many  actors  have  the  mistaken  idea  that  in  speaking, 
the  mouth  must  make  motions  similar  to  those  of  the  tongue. 
As  a  result  of  this,  we  see  carp-like  movements  of  the  lips 
become  chronic,  while  their  sole  task  should  be  to  form  the  la- 
bials by  mere  opening  and  closing,  the  vowels  (0  and  06)  by  a 
slight  rounding. 


96 


ESTHETIC    PHYSICAL   CULTURE. 


In  the  portrayal  of  scorn,  malignity,  contempt,  weeping,  etc., 
in  which  the  corners  of  the  mouth  especially  are  active,  care  must 
be  taken  not  to  draw  down  the  mouth  too  much  or  have  the  ten- 
sion too  great.  In  conclusion,  we  must  warn  against  one  con- 
stantly recurring  fault,  viz.:  Opening  the  mouth  involuntarily  in 
effective  situations,  and  letting  it  remain  open.  This  might  be 
allowable  only  in  comic  acting. 

In  the  portrayal  of  difficulty  of  hearing  or  of  listening,  it  is 
proper  to  open  the  mouth,  for  in  both  instances  the  reverberation 
is  sought  not  only  through  the  ear  but  also  through  the  mouth, 
which,  by  means  of  the  eustachian  tube,  stands  in  connection  with 
the  auditory  passage. 


Fig.  XLIX. 


MUSCLES   OF   THE    FACE. 


rt,  rt,  occipito-frontalis ;  b^b^  orbicularis  palpebrarum;  c,  orbicularis  oris;  d^d^  levator 
labii  superioris  alaeque  nasi ;  ^,  e^  levator  labii  superioris  proprius  ;  y,/,  zygomaticus  major  ; 
k.  k^  buccinator  ;  h^  h^  triangularis  menti ;  g^  g^  quadratis  menti ;  z,  /,  masseter. 


The  facial  muscles  rest  decidedly  under  the  influence  of  con- 


//^"    0^  "THE        >r^ 
THE    MIMIC   ART.  V  ^/  97      .f^V 


scious  volition  wliich  allows,  to  a  high  degree,  the  mastery  of  the 
involuntary  play  of  the  muscles  ;  it  is  the  prerogative  of  a  good 
education  to  use  this  mastery,  and  at  the  right  times,  not  by  sup- 
pressing, in  some  sort,  every  involuntary  play  of  the  features,  but 
to  prevent  the  animal  in  man  from  becoming  the  ruling  expres- 
sion. To  learn  this  mastery  will  be  imperative,  if  the  early  edu- 
cation and  manner  of  life  have  allowed  a  distorted  mien  to 
become  habitual. 

For  the  actor  who  must  give  the  various  personalities  he  rep- 
resents another  form  than  that  of  his  own  face,  and  who  must  do 
this  not  merely  by  mental  activity,  but  by  the  use  of  various 
paints,  it  is  indispensably  necessary  to  know  how  nature  in  these 
various  characters  fashions  the  form  of  the  face.  We  quote 
therefore  some  principles  from  Piderit's  "  Physiognomy." 

4.  Main  Elements  of  Facial  Expression. 

The  strong-willed,  decided  man  is  recognized  by  his  firm  glance, 
while  an  unsteady  glance  is  peculiar  to  those  who  lack  confidence 
in  themselves  or  others,  t6  hunted  and  guilty  men.  This  glance 
may,  however,  result  from  illness. 

If  one  grasps  a  representation,  the  muscles  of  his  eyes  will  be 
tense  as  if  grasping  some  object;  if  he  contrasts  different  repre- 
sentations, his  eyes  will  be  moved  as  he  turns  his  glance  from  one 
to  the  other,  etc. 

Intellectual  activity  may  be  recognized  by  a  quick,  observant 
glance;  while  intellectual  sluggishness  and  indifference  are  be- 
trayed by  the  empty  glance;  that  is,  by  a  lax,  slow  movement  of 
the  muscles  of  the  eye-ball.  The  slow  and  at  the  same  time  firm 
glance,  indicates  calm  deliberation;  the  quick,  and  at  the  same 
time  restless  glance,  indicates  fugitive  thought,  such  as  want  of 
consideration,  volatility. 

A  considerable  part  of  the  upper  edge  of  the  pupil  concealed 
by  the  lid,  denotes  intellectual  indolence,  while  raised  lids  and 
unveiled  pupils  are  a  sign  of  intellectual  activity. 

7 


98  ^ESTHETIC   PHYSICAL   CULTURE. 

Practical,  energetic  men  are  wont  to  have  a  near  glance;  spec- 
ulators, philosophers,  dreamy  men  let  their  glance  sweep  far  away. 
Very  enthusiastic  men  are  known  by  their  peculiar  and  somewhat 
upturned  glance. 

Men,  who  in  walking  or  sitting,  bend  the  head  forward,  must, 
in  order  to  gaze  before  them,  draw  the  pupil  high  under  the  lid. 
This  veiled  glance  is  found  in  people  who  observe  closely,  and 
would  yet  appear  unsympathetic.  It  is  peculiar  to  distrustful 
men.  If  the  veiled  glance  is  at  the  same  time  firm,  it  is  called 
lowering  (Fig.  L.). 


^  Fig.  L. 

The  tension  of  the  muscles  of  the  forehead  is  indicated  by  hori- 
zontal folds  and  uplifted  brows.  These  muscles  become  tense 
on  the  one  hand,  when  the  eyes  are  opened  as  widely  and  quickly 
as  possible,  and  on  the  other  hand,  when  they  are  held  open  as 
steadily  as  possible. 

The  mimic  expression,  if  constantly  repeated,  becomes  part  of 
the  physiognomy,  and  is  recognized  by  horizontal  lines  in  the 
forehead.  If  the  physiognomical  trait  is  strongly  marked,  the 
brows  remain  drawn  upward. 

This  facial  trait  of  the  horizontal  line  is  found: 

(a)  In  good-natured  men. 

(l?)  In  curious  men. 


THE   MIMIC   ART.  99 

(c)  In  men  who,  by  inclination  and  habit,  retain  firmly  and  en- 
duringly  the  ideas  awakened  in  their  souls.  I  designate  these 
inclinations  by  the  word  contemplativeness. 

Horizontal  lines  on  the  forehead,  a  vacant  gaze,  and  sunken 
eyelids,  denote  intellectual  indolence,  united  with  good  humor  or 
curiosity,  or  bent  for  reflection. 

The  eyebrow  muscles  draw  backward  the  upper  part  of  the 
muscle  that  closes  the  eyes.  The  tension  of  this  muscle  lays  the 
forehead  in  perpendicular  folds;  in  like  manner  the  eyebrows  be- 
come drawn  somewhat  downward,  with  their  inner  ends  approach- 
ing each  other. 

We  find  perpendicular  lines: 

(a)  In  people  who  have  had  much  physical  suffering. 

(p)  In  people  who  have  suffered  mentally. 

(c)  In  people  who  have  been  visited  by  misfortune. 

(^)  In  sensitive,  dissatisfied,  fretful  people. 

{e)  In  shortsighted  people. 

Where  the  mouth  stands  more  or  less  open  and  the  under  lip 
retreats  more  or  less,  we  presuppose  an  obtuse,  muddled  intellect 
(Fig.  LI.). 


Fig.  LI. 
Lips  more  or  less  knit  together  denote  obstinacy,   that  is,   a 
mind  shut  up  in  its  own  ideas  (Fig.  LII.). 


100  ESTHETIC   PHYSICAL    CULTURE. 


Fig.  LII. 

We  therefore  find  this  trait: 
(a)  In  stubborn  people. 
(^)  In  reliable  people. 

(c)  In  careful  people. 

(d)  In  reticent  people. 

(e)  In  self-seeking,  avaricious  people. 

Lips  lying  loosely  together  indicate  the  contrary;  hence  suscep- 
tibility and  frankness. 

If  one  tries  some  gustatory  object*  (for  instance  wine)  with  the 
organs  of  taste,  he  protrudes  both  lips  at  the  same  time,  pressing 
them  together  and  giving  the  mouth  a  snout-like  form.  In  this 
way  the  cavity  of  the  mouth  is  widened,  while  the  substance 
tasted  is  held  fast.  This  form  of  the  mouth  (Fig.  LIII.)  is  there- 
fore found  : 

(a)  In  gourmands. 

(d)  In  critical  persons. 

If  the  organ  of  taste  is  unpleasantly  excited,  the  arch  of  the 
palate  is  removed  as  far  as  possible  from  the  surface  of  the 
tongue,  the  upper  lip  as  far  as  possible  from  the  under,  while  the 
nostrils  are  raised  (Fig.  LIV.).     We  observe  the  same  expression 


THE    MIMIC   ART. 


lOI 


Fig.  LIII. 

as  the  sign  of  an  imaginary  excitement  of  the  organs  of  taste; 
also  in  a  sudden,  intense,  disagreeable  excitement  of  other  organs 
of  sense,  or  in  the  excitement  of  unpleasant  ideas.  The  mimic 
expression  of  bitterness  will  therefore  be  called  forth  by  inciting 
ideas  whose  unpleasant  nature  is  significantly  described  as  ^'  bit- 
ter." 


Fig.  LIV. 


If  one  is  delighted  with  a  pleasant  idea,  while  at  the  same  time 
agitated  by  an  unpleasant  one,  the  mouth  will  give  slight  expres- 


102  .ESTHETIC   PHYSICAL   CULTURE. 

sion  to  the  bitterness,  while  the  eyes  glance  upward  (Fig.  LV.). 


Fig.  LV. 

A  compressed  mouth  with  a  bitter  expression  indicates  a  stub- 
born, misanthropic  person  (Fig.  LVL). 


Fig.  LVI. 

The  physical  impress  of  scorn  is  a  deep  line  under  the  angle 
of  the  lower  lips.  In  this  case  the  chin  appears  flat,  because  its 
flesh  is  tightly  drawn,  while  the  under  lip  is  pressed  upward. 

The  eyelids  fall  as  in  drowsiness,  while  a  certain  degree  of 
negligent  attention  is  discernible  on  account  of  the  tension  of 


THE    MIMIC   ART.  IO3 

the  muscles  of  the  forehead,  whereby  the  sinking  Hds  are  held  in 
place,  horizontal  lines  appearing  on  the  forehead. 

GENERAL    PHYSIOGNOMICAL    REMARKS. 

I.  The  Cheeks. 
Fleshy  cheeks  usually  indicate  a  sensitive  temperament  and 
susceptibility.  If  lean  and  narrow  they  denote  dry  humor  and  a 
lack  of  sensuality.  Sorrow  makes  them  hollow  ;  coarseness  and 
stupidity  imprint  them  with  folds  and  furrows.  Depressions, 
more  or  less  angular  in  form,  are  an  infallible  sign  of  envy  and 
jealousy.  A  line  passing  from  the  nostril  to  the  corner  of  the 
mouth  is  very  indicative  of  character  ;  if  it  is  a  curve  without 
any  variation  or  wave  line,  it  is  an  infallible  sign  of  stupidity.  It 
is  the  same  when  its  end  leads,  without  interruption,  along  the 
edge  of  the  upper  lip,  or  lies  not  far  removed  from  it. 

2.  The  Lips. 
Fleshy  lips  indicate  sensuality,  gourmandism,  indolence.  Sharp- 
ly cut  lips  and  those  with  hard  outlines  denote  unrest  and  avarice. 
An  elevated  upper  lip  indicates  self-importance  and  coarseness. 
A  thick,  protruding  lower  lip  is  the  sign  of  a  foolishly  boastful 
and  withal,  intellectually  impoverished  man.  A  sullen,  lipless 
mouth,  turning  upward  at  the  sides,  denotes  affectation  and  vanity. 

J.  The  Chill. 
A  protruding  chin  always  denotes  something  positive  ;  a  re- 
treating chin,  something  negative.  A  round  chin  with  a  dimple, 
denotes  goodness  ;  a  small  chin  indicates  timidity,  bashfulness  ; 
a  smooth  chin,  coldness  and  dryness  of  temperament  ;  an  angu- 
lar chin  denotes  penetration,  cleverness  and  firmness  ;  a  pointed 
chin  is  a  sign  of  strategy  and  cunning  ;  a  long,  broad,  fat  chin  in- 
dicates a  hard,  proud,  obstinate,  violent  character.  A  chin  indi- 
cating cleverness  must  be  turned  back  or  cleft  in  the  middle. 
All  that  is  said  here  must  not  serve  the  dramatic  artist  as  a  model 
whereby  alone  he  is  forced  to  act.  It  is  left  for  his  imagination 
and  talent  everywhere  to  supply  the  necessary  modifications. 


CHAPTER  III. 

GESTURE. 

"  Gesture  arises  from  the  passion  it  is  to  represent.  It  is  an  arrow  winged 
by  the  soul ;  it  must  have  speedy  effect  and  reach  the  goal  to 
which  the  cord  of  sensation  hurries  it  on.  After  we  are  instructed 
in  the  principles  of  our  art,  let  us  follow  the  impulses  of  our  souls. 
If  our  sensations  are  keen,  they  cannot  mislead  us." — Noverre's 
Letters. 

When  fully  grounded  in  the  plastic  of  the  human  limbs,  gesture 
comes  almost  without  effort ;  it  arises  always  from  inward  emo- 
tion, and  one  incapable  of  such  emotion,  may  study  whole 
volumes  upon  gesture  without  deriving  any  special  benefit  from 
them. 

THE    SINGLE    LIMBS    IN    RELATION    TO    GESTURE. 

Of  all  members  of  the  body,  the  arms  and  hands  are  most  active 
in  gesture.  Before  laying  down  fundamental  rules,  we  will  briefly 
consider  the  head  as  a  whole,  and  for  this  purpose,  borrow  some- 
thing from  "The  Symbolical  in  the  Human  Form,"  by  Carus. 

7.    TJie  Head. 

In  bending  the  head  forward,  it  is  the  forehead,  the  symbol  of 
intelligence,  which  sinks  or  falls,  and  thus  necessarily  gives  re- 
cognition of  a  truth  outwardly  presented,  such  as  assent ;  further, 
assent  to  another's  opinion,  also  submission  to  another's  under- 
standing, and  finally,  weariness, — a  yielding  up  of  conscious  in- 
tellectual mastery,  a  transition  into  sleep.  At  the  same  time 
it  happens  that  the  intellectual  region,  that  is  the  region  of  the 
brain,  inclines  forward, —  a  decided  symbol  of  mental  sympathy 
and  assent. 

The  opposite  movement,  the  uplifting  of  the  forehead,  must 


GESTURE.  105 

indicate  the  reverse.  Every  such  uplifting  elevates  the  seat  of 
intelligence  above  all  outside  of  it,  and  all  sympathy  of  feeling  is 
expressed  by  a  backward  inclination  of  the  head.  Hence  it  hap- 
pens that  a  medium  mood  of  the  soul,  removed  alike  from  assent 
and  dissent,  from  humiliation  and  scorn,  can  find  outward  expres- 
sion only  in  the  calm  uplifting  of  the  head.  It  is  also  evident 
which  of  these  three  tendencies  or  soul-moods  in  the  life  of  man 
is  uppermost,  by  the  carriage  of  the  head  which  will  infallibly  ex- 
press one  or  the  other  ;  for  instance,  the  head  thrown  backward 
will  express  pride  and  vanity,  the  head  bent  forward,  mildness, 
submission,  condescension  and  subjection  ;  while  calmness  and 
quiet  self-persistence  will  find  expression  in  a  simple,  but  firm 
and  upright  carriage  of  the  head. 

To  the  three  movements  above  mentioned  may  be  added  that 
emphatic  throwing  back  of  the  head  which,  in  every  case,  points 
to  the  prevailing  tendency  of  the  wishful  and  craving  soul,  sym- 
bolically indicated  by  the  region  of  the  back  head.  Every  inor- 
dinately violent  exertion  of  energy,  all  strong  desires  make  the 
hind  part  of  the  head  the  prevailing  pole  of  the  head  movement 
and  draw  it  backward. 

A  weak  sideward  inclination  of  the  head  is  indicative  of  ex- 
haustion and  mental  over-exertion  ;  a  more  or  less  forward  in- 
clination denotes  sorrow,  depression  and  discouragement.  If  the 
sideward  movement  is  more  decided,  doubt  is  expressed  ;  doubt 
with  astonishment  by  a  sort  of  swaying  motion  from  left  to  right. 
A  mere  turning  to  the  right  or  left  denotes  dissatisfaction,  oppo- 
sition or  aversion.  If,  at  the  same  time,  the  head  is  bent 
backward  or  uplifted,  it  is  characterized  as  a  looking  over  the 
shoulder,  a  gesture  of  scorn  or  of  impudent  challenge.  The 
mere  sideward  turning  to  and  fro  is  denial  ;  if  this  happens  several 
times  in  quick,  abrupt  succession,  to  the  right  and  left,  it  is  shak- 
ing the  head  and  thus  the  denial  or  displeasure  is  emphasized  or 
finds  expression  in  impatience,  dejection  or  displeasure.  A  quiet 
shaking   of   the   head    is    a   sign   of   doubt    upon    some  matter, 


I06  .ESTHETIC    PHYSICAL   CULTURE. 

or  certain  sort  of  surprise.  Shoving  forward  the  head  with  an 
elevation  of  the  chin,  is  a  sign  of  curiosity,  and  indicates  Hsten- 
ing  ;  hence  we  find  this  movement  in  individuals  who  are  caught 
listening. 

2.    The  Arms  and  Hands  in   General. 

Quintilian  says  of  the  use  of  the  hands  : 

''  While  the  other  limbs  assist  the  speaker,  the  hands,  I  dare  af- 
firm, speak  themselves.  For  do  we  not  demand,  promise,  call, 
dismiss,  threaten,  entreat,  abhor,  fear,  ask,  deny  with  them  ?  Do 
we  not  indicate  joy,  sadness,  doubt,  acknowledgement,  remorse, 
measure,  multitude,  number  and  time  with  them  ?  Do  they  not 
arouse  courage  ?  Do  they  not  mourn,  repel,  consent  ?  Do  they 
not  express  admiration  and  shame  ?  This  is  the  language  which 
in  the  great  diversity  of  tongues  among  all  races  and  peoples,  I 
have  in  common  with  all  men." 

If  Quintilian,  who  wrote  only  for  orators,  speaks  thus  of  the 
hand,  of  what  importance  must  it  be  in  the  representation  of  the 
whole  man  ! 

Some  animals  have  horns  ;  others  have  hoofs,  teeth,  claws, 
talons,  spurs  and  beaks  ;  man  has  nothing  of  the  sort  ;  he  is  placed 
weak  and  defenseless  in  the  world,  but  the  hand  aside  from  its 
practical  use,  gives  him  compensation  for  all  this. 

It  is  impossible  to  give,  it  would  be  absurd  to  attempt  to  give 
all  the  movements  of  which  the  head  and  arm  are  capable.  In 
accordance  with  the  purpose  of  our  book  we  present  only  funda- 
mental rules. 

Physical  Gymnastics  have  taught  us  the  movements  of  which 
the  arm  is  capable  ;  we  now  consider  briefly  their  significance  in 
acting. 

The  arms  may  hang  quietly  at  the  side,  but  in  this  posture  they 
express  no  mental  emotion.  A  crossing  of  the  arms  over  the 
breast  indicates  investigation  ;  a  crossing  of  them  behind  the 
back  indicated  attention  merely.  In  the  former  case  the  body 
bends  forward  ;  in  the  latter,  backward.     In  acting,  the  hand  is 


GESTURE.  107 

the  all-important  member.  It  stands  in  the  same  controlling  re- 
lation to  the  upper  and  lower  arm  that  the  eye  or  mouth  has  to 
other  parts  of  the  face. 

The  hand  is  important  to  the  actor,  not  only  on  account  of  its 
general  movements,  but  also  from  the  fact  that  the  fingers  enable 
it  to  open  or  close  with  various  degrees  of  force. 

Thus  a  hand  slightly  closed  denotes  mildness  ;  while  in  the  sem- 
blance of  defiance  or  contempt,  the  closed  fist  and  the  inner  side 
of  the  arm  are  turned  toward  the  one  threatened.  Real  rage 
turns  the  inner  side  of  the  arm  and  the  clinched  fist  toward  him. 

Furthermore,  the  fingers  of  the  hand  and  their  movements  are 
of  great  import  in  acting.  The  thumb  must  be  called  the  clinch- 
ing finger,  since  it  gives  its  character  of  defiance  to  the  clinched 
hand.  It  is  at  the  same  time  the  most  technical  finger  among  the 
five,  and  the  strongest.  It  also  serves  for  mental  expression,  as, 
for  instance,  (Fig.  LVII.)  in  the  scorn  evident  of  what  is  past 


Fig.  LVII. 

or  not  present.  The  finger  next  the  thumb  is  aptly  called  the 
index,  or  demonstrative  finger.  It  points  always  in  a  noble  way, 
and  contempt  is  foreign  to  it.  Its  office  is  pure  demonstration, 
it  serves  as  an  expression  of  the  reason  rather  than  the  sensibili- 
ties. Place,  things,  time  and  persons,  are  pointed  out  by  it. 
(Fig.  LVIII.) 


Fig.  LVIII. 


io8 


ESTHETIC    PHYSICAL    CULTURE. 


Next  to  the  index  finger  stands  the  third,  the  so-called  middle 
finger,  the  longest.  In  acting,  it  should  be  called  the  wishing 
finger.  We  observe  how  greedy  for  an  object  really  at  hand  is 
he  who  points  to  it  with  this  finger.     (Fig.  LIX.)    The  finger  next 


^?T~~x**^ 


Fig.  LIX. 

to  this  is  called  the  fourth.  It  might  be  named  the  feeling  and 
testing  finger.  If  one  would  scratch  the  chin  or  rub  the  eyes 
gently,  he  uses  this  finger.  Those  born  blind  teach  them- 
selves at  first  only  by  feeling  with  the  index  finger.  The  last 
finger  is  called  the  fifth  or  little  finger.  The  actor  might  call  it 
the  belittling  finger,  for  it  expresses  belittlement  in  a  noble  or 
ironic  sense.  One  need  only  recall  how  naturally  he  touches  the 
tip  of  the  little  finger  with  the  thumb  to  indicate  the  little. 

In  works  on  German  art  dating  from  the  middle  ages,  we  sel- 
dom see  a  hand  in  true,  noble  repose.  The  mediaeval  Germans, 
for  the  most  part,  delineated  the  hand  with  its  fingers  lying  close 
together,  indicative  of  effort  ;  or  they  gave  the  hand  a  genuine 
expression.  In  the  statues  of  ancient  Greece,  on  the  contrary, 
the  repose  of  the  hand  is  masterly.  The  fingers  are  bent,  but 
not  obtrusively,  the  index  finger  least  of  all.  Hence  on  to  the 
little  finger  the  curvature  increases  as  if  to  show  the  capability  of 
the  hand   in  demonstration.     (Fig.    LX).     The  fingers  are  not 


LX. 


GESTURE.  109 

pressed  together,  they  are  separated,  but  not  so  much  that  the 
separation  seems  forced. 

J.  Main  Principles  of  the  Position  of  the  Hand  in  Acting, 

This  portion  of  our  work  is  founded  upon  Ling's  book,  adapted 
by  Hugo  Rothstein.  He  divides  the  various  positions  of  the 
hand  into  the  following  groups  : 

(a)  Hand  flat  and  horizontal  with  inner  palm  upward,  with 
under  arm  held  up,  or  the  whole  arm  extended  or  held  forward, 
indicates  offering,  explanation,  salutation.  In  grasping  hands  in 
salutation,  naturally  the  hand  of  him  who  salutes  is  offered,  while 
that  of  the  other  only  grasps  it,  and  therefore  takes  the  inverted 
position. 

(h)  Hand  flat  and  horizontal  with  inner  palm  downward  is  the  ges- 
ture of  protection,  guardianship,  blessing,  confirmation,  of  irrevoca- 
ble decision  and  conclusion  ;  also  the  gesture  commanding  repose 
and  silence.  Alternating  with  (a)  it  indicates  gazing  around,  con- 
templation. 

{c)  Hand  vertical  with  inner  palm  reversed,  lower  arm  drawn 
forward,  the  whole  arm  more  or  less  elevated,  is  a  sympathetic 
gesture,  for  beckoning,  for  presentation,  for  well-meant  or  earnest 
meaning,  for  reproach,  etc.  ;  also  a  gesture  of  contemplative 
thought,  intuition,  etc. 

{d)  Hand  vertical  with  inner  palm  forward,  with  under  arm 
raised  or  fully  extended  is  antipathetic,  evasive,  repellent,  ex- 
pressive of  abhorrence,  fear,  horror  ;  with  the  arm  raised  high,  the 
utmost  horror. 

(e)  Hand  with  thumb  downward  and  inner  palm  outward  ; 
with  arm  more  or  less  extended,  or  united  with  a  side  movement 
of  the  same  is  repellent,  setting  aside,  displacing,  casting  out, 
not  wishing  to  know  of  something  ;  it  is  also  the  gesture  of  con- 
tempt, etc. 

(/)  Hand  with  thumb  upward  and.  inner  palm  inward  ;  lower 
arm  still  raised  forward,  with  elbows  against  the  body,  or  the 


no  ESTHETIC    PHYSICAL    CULTURE. 

whole  arm  extended  more  or  less,  is  separating,  sundering,  dis- 
criminating, rending. 

These  six  main  positions  of  the  hand  are  taken  with  one  hand 
or  with  both  together.  In  the  first  case  the  other  hand  remains 
passive,  or  makes  a  complementary  gesture,  but  in  other  cases 
both  hands  unite  by 

(g)  Laying  the  inner  palms  together  with  the  hands  horizon- 
tal and  usually  one  crossed  over  the  other,  rarely  with  a  quiet 
bearing,  but  with  constant  beating  of  the  upper  against  the  lower 
hand  ;  commanding  repose  or  silence,  but  used,  also,  for  the  live- 
liest clapping  in  applause  ;  or  both  hands  with  their  length  line 
horizontal,  their  cross  line  vertical,  and  thumbs  upward  wedge- 
shaped  as  if  to  separate  something,  a  position  of  the  hand  quite 
habituafwith  preachers  and  schoolmasters.  Joined  with  clapping 
this  is  a  gesture  of  real  or  malicious  joy  ;  or  both  hands  vertical, 
and  usually  on  a  level  with  the  breast,  for  persistent  entreaty  as 
well  as  for  prayer,  in  which  case  the  fingers  lie  tensely  one 
against  the  other  or  are  entwined. 

(//)  The  hands  folded  crosswise,  inner  palm  upon  inner  palm, 
but  with  locked  thumbs  and  fingers,  denotes  a  humble,  reverent 
bearing  sometimes  used  in  prayer. 

(/ )  Laying  of  the  back  of  one  hand  upon  the  palm  of  the  other, 
or  both  inner  palms  turned  upward,  both  hands  somewhat  bent,  the 
arms  pendent,  either  before  or  behind  or  both  inner  palms  down- 
ward, and  the  arm  hanging  stifidy  in  front,  denotes  passiveness, 
comfort,  etc.  In  certain  sorts  of  admiration,  also  in  involuntary  ad- 
miration, the  arms  are  elevated  and  brought  forward.  This  man- 
ner of  holding  the  hands  also  expresses  a  feeble  degree  of  de- 
spair, and  the  whole  gesture  is  something  like  that  of  wringing 
the  hands. 

(y)  Folding  the  hands  with  the  fingers  interlaced,  if  the 
fingers  only  twine  loosely — this  manner  of  holding  the  hands  with 
the  arms  at  the  same  time  hanging  laxly,  indicates  nothing  more 
than  reDOse  or  comfort,  otherwise  a  self-contained  nature,  intro- 


GESTURE.  Ill 

spection,  devotion,  and  similar  mental  moods,  the  deeper  and  more 
ardent  the  latter,  so  much  the  nearer  do  the  inner  palms  approach  ; 
they  even  unite  in  an  intense  pressure,  in  which  case  both  folded 
hands  are  carried  to  the  breast,  and  more  or  less  pressed  against 
it.  Besides,  this  folding  of  the  hands  serves  for  a  gesture  of 
earnest  entreaty. 

(Iz)  Wringing  the  hands,  a  gesture  difficult  to  describe,  because 
it  is  movable  and  changeable  so  far  as  the  hands  are  concerned. 
The  hands  certainly  remain  in  contact,  still  not  in  a  decided 
grasp.  The  fingers  meantime  are  now  closed,  now  folded,  the 
arms  in  restless  movement,  now  bent,  now  extended,  now  raised, 
now  lowered,  etc.  This  gesture  naturally  occurs  only  in  very 
deep  and  powerful  excitement,  in  the  most  profound  agony  and 
despair. 

4.    The   Torso. 
In  Physical  Gymnastics  we  have  learned   the  torso's  capability 
for  movement,  in  turning  and  bending  forward,  backward  and 
sideward.     What  significance  have  these  in  acting  ? 

An  easy,  but  still  firm  and  erect  carriage  of  the  torso,  indicates 
self-esteem  and  dignity. 

Bending  forward  always  expresses  a  sympathy  for  the  object 
toward  which  the  torso  inclines  ;  bending  backward  expresses  an- 
tipathy. The  first,  therefore,  denotes  affection,  confidence, 
readiness  to  assist,  benevolence,  friendliness,  etc.  ;  the  second, 
aversion,  distrust,  hatred,  etc. 

A  drawing  sideward,  as  if  turning  away  from  something,  ex- 
presses disregard,  distrust,  scorn  ;  and  an  entire  turning,  in  which 
naturally  the  foot  takes  part,  expresses  these  sentiments  in  the 
highest  degree. 

In  the  side  movement  as  if  turning  toward  something,  there 
lies,  in  fact,  a  certain  degree  of  sympathy  ;  but  if  the  foot  does 
not  take  part  in  the  movement,  there  is  here  a  sort  of  disregard 
and  indifference. 

To  draw  back  the  shoulders  with  the   chest  arched,  indicates 


112  .ESTHETIC    PHYSICAL   CULTURE. 

courage,  boldness  and  especially  self-confidence.  This  attitude 
strongly  marked,  denotes  haughtiness,  arrogance  and  scorn. 

Drawing  forward  the  shoulders  with  the  consequent  drawing 
in  of  the  chest,  is  the  sign  of  anguish,  fear,  despondency,  etc. 

A  drawing  downward  of  the  shoulders  occurs  mostly  in  sud- 
den terror.  Connected  with  the  drawing  of  them  upward  pro- 
duces the  gesture  of  shrugging. 

5.    The  Legs  and  Feet. 

The  action  of  the  legs  and  feet  in  mere  progression,  has  been 
accurately  described  in  "The  Mechanism  of  the  Walking  Ap- 
paratus." Aside  from  their  ofifice  in  walking  the  legs  and  feet 
have  another  office  :  The  support  and  carriage  of  the  torso  in  all 
positions.  Even  regarding  them  only  as  supporters,  we  find  them 
not  entirely  passive  in  gesture.  However,  they  perform  their 
destined  office  under  all  circumstances,  even  if  the  body  is  not 
for  the  moment  in  motion.  If  the  gesture  of  standing  is  complete 
the  position  of  the  feet  must  show  exactly  whether  the  gesture 
indicates  progression  or  not. 

In  all  the  gestures  carried  out  in  standing  in  which  the  feet 
take  an  active  share,  one  of  the  feet  must  always  sustain  the  body, 
while  the  other  assumes  the  motion. 

Hence,  according  to  Rothstein,  arises  the  designation  of  one 
foot  as  the  standing,  the  other  the  acting  foot.  There  are  but 
few  cases  where  this  distinction  does  not  enter,  and  both  feet 
alike  sustain  the  body  ;  these  are  the  stiff,  arbitrary  position  of 
the  soldier  before  his  superior,  and  that  of  the  servant  before  his 
master.  Here  the  heels  are  close  together,  or  one  is  close  against 
the  inner  edge  of  the  other  foot,  the  knees  being  tense.  This 
position,  although  the  body  is  sustained  by  both  feet,  is  by  no 
means  one  of  repose  ;  it  is  an  arduous  one,  and  expresses  subor- 
dination, obedience  ;  a  strict  inward  sense  of  the  commands  and 
charges  to  be  given,  as  well  as  a  forced,  stiff  manner  ;  hence  only 
for  brief  moments  can  it  remain  the  attitude  of  voluntary  respect 
and  obedience.     As   soon    as   this  forced    subordination   grows 


GESTURE.  113 

somewhat  lax,  one  foot  loosens  a  little  and  its  knee  bends  slight- 
ly, while  the  line  of  gravity  passes  more  and  more  to  the  other 
foot.  At  this  first  effort  of  the  one  foot  for  freedom,  the  rela- 
tions of  standing  and  acting  foot  alternate.  In  acting,  the  alter- 
nation of  the  standing  foot  must  be  so  managed  that  the  original 
standing-place  may  be  retained  by  the  actor. 

From  such  transpositions  of  the  feet  arise  those  various  posi- 
tions in  which  the  body  sometimes  remains  only  for  a  moment, 
but  often  for  a  greater  or  less  length  of  time.  The  main  forms 
are:  The  standing  position,  the  walking,  stepping  and  side  po- 
sition, and  the  thrust  position.  The  striding  or  walking  position 
expresses,  as  a  rule,  a  tendency  to  move  forward.  Setting  the 
foot  forward  indicates  meeting,  stepping  together,  reception,  of- 
fering, etc.  Setting  back  the  foot  indicates  withdrawal,  flinching, 
fleeing,  renunciation,  etc.  Assuming  the  side  position  may  also 
indicate  progression,  but  only  in  the  sense  of  avoidance  or  with- 
drawal. This  attends  very  emphatically,  for  instance  the  gesture 
of  contempt.  The  thrust  position,  results  usually  from  a  sudden 
and  violent  excitement,  and  for  the  most  part,  accompanies  only 
very  animated  action.  As  taken  backward  or  forward  and  ac- 
cording to  the  bearing  of  the  upper  body  and  the  upper  extremi- 
ties, it  may  express  very  different  things.  For  instance,  a  set- 
ting back  of  the  foot,  and  bending  back  of  the  upper  part  of  the 
body,  is  the  gesture  of  the  highest  sort  of  horror. 

We  must  here  briefly  distinguish  the  different  angles  of  the  po- 
sitions of  the  feet.  The  outward  rectangtilar  position  is  the  nor- 
mal one  ;  the  obtuse  angle  is  forced,  does  not  present  sufficient 
firmness,  reminds  one  of  the  dancing  master,  indicates  an  affected  . 
manner  (affectation).  The  acute  angle  leads  to  the  inward  posi- 
tion, and  expresses  helplessness,  awkwardness,  stupidity,  coarse- 
ness, etc.  Each  of  the  aforesaid  foot  positions  can  be  carried  out 
only  by  the  help  and  support  of  the  legs,  consequently  it  relates  to 
these  also. 


114  .ESTHETIC   PHYSICAL   CULTURE. 

6.    Walking  in  Acting. 

We  have  learned  to  understand  the  natural  gait  as  a  mere  on- 
ward movement  as  well  as  in  its  aesthetic  sense  ;  but  something 
remains  to  be  added  in  regard  to  the  walk  in  acting. 

Whether  the  walk  is  for  the  dramatic  representation  of  given 
characters  or  for  special  intellectual  excitement,  several  shades 
and  modulations  enter  into  the  movement. 

It  is  evident  that,  for  instance,  joy  and  pleasure  bring  with 
them  a  perceptibly  increased  swiftness  of  movement,  while  with 
sorrow  and  melancholy,  there  would  be  a  perceptible  decrease. 
Exalted  moods  and  passions  require  an  increased  switfness.  Cour- 
age and  decision  show  a  secure,  firm  tread  ;  cowardice,  a  weak, 
wavering  gait,  a  slow,  or  at  least,  very  moderate  tempo.  In  an- 
guish and  horror,  the  gait  is  tottering  ;  in  courage  and  fury,  tem- 
pestuous. Hypocrisy  and  treachery  sneak  along  ;  silliness  and 
vanity  move  with  short,  tripping  steps  and  feet  much  turned  out- 
ward ;  phlegm  (indifference)  and  idleness  have  a  ^low  and  slip- 
ping or  rather  slouching  gait  ;  scorn  a  stamping  gait,  etc. 

In  general,  it  may  be  said  that  the  further  a  man's  special 
character  departs  from  the  ideal  of  true  manhood,  the  greater  his 
moral  faults  and  weaknesses,  so  much  wider  become  his  departures 
from  the  normal  gait,  from  the  bounds  required  by  grace  and  dig- 
nity, and  so  much  the  more  decidedly  will  his  gait  indicate  one 
'fault  or  the  other,  or  the  several  forms  of  fault. 

Although  the  structure  of  our  walking  apparatus  tends  naturally 
to. going  forward,  and  this  is  the  normal  method  of  walking,  it 
also  admits  of  walking  backward.  If,  for  instance,  one  would 
withdraw  from  a  person  to  whom  reverence  is  due,  decorum  de- 
mands that  this  take  place  with  single,  backward  steps,  with  the 
face  fixed  upon  the  revered  person  ;  then  the  full  turn  for  walking 
forward  is  made.  Neglect  of  this  rule  renders  one  liable  to  the 
reproach  of  ill-breeding,  disrespect  and  irreverence.  Also,  in  great 
surprise,  in  astonishment,  horror,  etc.,  one  walks  backward  some 
steps. 


GESTURE.  115 

Walking  forward  usually  takes  place  in  a  direct  line,  but  men- 
tal or  outside  motives  often  require  a  circuitous  direction.  If, 
for  instance,  two  persons  in  walking  meet  upon  one  line,  one  of 
them  must  step^side  ;  common  politeness  demands  that  in  two 
persons  of  the  same  station,  both  should  do  this  ;  but  in  meeting 
an  honored  personage,  we  leave  the  path  free  for  him.  In  like 
manner,  the  gentleman  steps  aside  for  the  lady,  the  young  for  the 
old. 

Among  the  mental  motives  which  lead  to  walking  in  curved 
lines,  are  suspicion,  embarrassment,  espionage,  anxiety,  despair, 
etc. 

In  regard  to  going  up  to  a  person  which  is  to  be  distinguished 
from  a  mere  meeting,  no  decided  rules  can  be  given,  since  many 
local  conditions  intervene.  But  this  much  may  be  said  :  In  ap- 
proaching a  person  of  higher  rank,  the  walk,  if  before  rapid,  must 
grow  slower  and  more  dignified,  and  a  pause  occur  at  least  two 
steps  distant  from  him  ;  in  the  case  of  a  prince,  three  steps.  (See 
Parts  Fourth  and  Seventh.) 

An  important  characteristic  in  walking  in  common  life  and  far 
more  so  upon  the  stage,  is  the  ability  to  measure  with  certainty  the 
distance.  A  firm,  clear-sighted  individual  knows  how  many  steps 
he  must  take  to  reach  his  goal,  whether  the  steps  be  long  or  short. 
Undecided  characters  never  know  this,  and,  therefore,  come 
hastening  too  near  the  object  or  not  near  enough,  or  make  several 
missteps.  An  actor  should  be  able  to  measure  with  bandaged 
eyes  the  dimensions  of  the  stage  in  all  directions,  and  let  his 
gait  be  measured  by  circumstances.  We  often  notice  the  absurd 
gait  of  one  who  hands  a  letter,  or  perhaps  has  to  take  some  tri- 
fling thing  upon  the  stage.  Often  in  such  cases  servants  ap- 
proach too  near  their  masters,  or  pause  too  far  away,  so  that  the 
master  is  obliged  to  come  to  meet  them.  Comic  actors  well  know 
how  to  raise  a  laugh  in  this  way. 

7.   Characteristic  Tokens  of  Several  Kinds  of  Gait, 

The  heavy  gait    is   thus   characterized   by  Harless :     At   the 


Il6  ^ESTHETIC    PHYSICAL    CULTURE. 

moment  when  the  centre  of  gravity  falls  over  the  axis  of  the 
middle  of  the  foot,  the  swinging  foot  has  already  set  its  heel  on 
the  floor,  near  that  point.  One  walks  in  this  manner  after  severe 
illness,  in  bearing  heavy  burdens  carefully  over  a  smooth  surface, 
especially  when  the  nature  of  the  ground  or  the  muscular  strength 
at  command  advises  caution.  The  nearer  the  heel  of  the  forward 
foot  is  set  near  the  ball  of  the  backward  foot,  so  much  the  more 
constrained  will  be  the  gait.  This  gait  may  be  slow  or  rapid  as 
the  line  of  gravity  approaches  nearer  the  foremost  foot.  It  indi- 
cates a  sort  of  insecurity,  anxiety  or  cautiousness  ;  and  is,  there- 
fore, often  employed  by  elderly  people  or  invalids,  or  for  walking 
in  the  twilight.  The  space  in  which  the  body  rests  only  on  one 
leg  will,  for  this  reason,  be  shortened  as  much  as  possible. 

The  shuffling  gait  upon  the  soles  of  the  feet  is  thus  described  : 
The  hindmost  foot  does  not  lift  its  ball  from  the  floor  before  the 
forward  foot  resumes  its  standing  position.  We  find  this  gait 
among  the  blind,  in  groping  and  creeping.  In  the  latter,  we  also 
find  walking  on  tip-toe,  where  the  body  is  usually  bent  somewhat 
forward. 

The  Swaying  Gait.  —  This  arises  less  from  bending  the  knee 
than  from  turning  the  hip.  AVe  find  it  united  with  a  heavy  step 
in  fleshy  people,  in  bearing  upon  the  head  heavy  burdens  or 
objects  liable  to  break,  in  walking  upon  stilts,  in  the  heavy  stage 
step  in  caricature. 

Akin  to  this  is  a  gait  in  which  the  sole  of  the  foot  is  considered 
immovable,  and,  therefore,  at  every  step  falls  with  its  whole  sur- 
face on  the  ground.  In  this  gait,  the  steps  are  very  short,  and 
the  line  of  gravity  always  falls  upon  the  heel  of  the  foremost 
foot.     This  is  the  "Turkish  gait"  of  the  stage. 

The  Dignified  Gait. — In  this  gait  the  upper  body  which  stands 
erect,  with  knees  more  or  less  stiff,  seems  to  be  drawn  out  and 
elongated  from  the  hips.  The  time  during  which  both  feet 
touch  the  floor,  is  therefore  the  longest.  Here  the  more  or  less 
decides  infinitelv  much.     An  inch  more  and  we  see  a  caricature. 


GESTURE.  117 

If,  in  this  gait,  the  toes  are  set  down  first  and  too  soon  the  result 
is 

The  Daficing-inaster  Step. — This  step  arises  from  swaying  the 
hody  sideways  and  is,  consequently,  insecure.  The  groping  gait 
is  the  same,  and  the  standing  foot  is  more  or  less  bent  from  the 
knee. 

THE    LIMBS    IN    HARMONIOUS    ACTION. 

/.    The  Divisions  of  Gesture. 

Ling  divides  the  various  gestures  of  which  man  is  capable  in- 
to five  classes: 
(a)  Expressive, 
(V)  Delineative, 

(c)  Interpretative, 

(d)  Imitative  and 

(e)  Conventional. 

(a)  Expressive  gestures  we  call  those  which  characterize  only 
individual  mental  states.  To  embody  such  gestures  requires  a 
lively  fancy  and  a  fine  gift  of  observation.  If  the  actor  is  devoid 
of  the  latter,  he  will  give  us  the  expression  of  his  own  emotions,  but 
not  those  of  various  individuals.  Here  the  actor  must  guard 
carefully  against  exaggerations  ;  one  step  too  far,  and  the  sub- 
lime becomes  ridiculous.  Rules  cannot  be  given  for  this  first 
class  of  gestures.  A  lively  fancy,  a  cultivated  intellect,  a  fine 
tact  always  strike  the  right  medium. 

The  portrayal  of  anger  and  despair  presents  the  most  difficulties 
to  the  actor  ;  his  own  excitability  is  apt  to  take  away  his  presence 
of  mind  and  carry  him  beyond  the  limits  of  the  beautiful. 

{h)  Delineative  gestures  are  those  which  embody  the  idea  of 
outward  objects  or  their  moods  and  peculiarities.  If,  for  instance, 
one  would  materialize  the  surging  of  the  sea,  the  contours  of  a 
house,  a  line,  a  cross,  the  fusion  of  two  bodies,  etc.,  he  helps  the 
words  by  the  aid  of  an  outlining,  depicting  gesture.  In  this  sort 
of  gestures,  the    actor   must    guard  against  overacting,   against 


Il8  .ESTHETIC    PHYSICAL   CULTURE. 

seeking  to  depict  everything.     In  this  way  he  falls  irretrievably  in- 
to the  ridiculous. 

The  fundamental  rule  here  is  :  Always  grasp  the  whole,  but 
outline  main  ideas  only,  and  especially  avoid  every  delineative  ges- 
ture which  does  not  stand  in  intimate  connection  with  one's  own 
feelings. 

(c)  Interpretative  gestures  are  distinguished  from  delineative 
ones  in  that  they  only  express  symbolically  the  common  attributes 
of  space,  time  and  strength.  For  instance  :  Height,  depth,  near- 
ness, width,  haste,  strength,  weakness,  multitude,  procrastination, 
etc. 

{d)  Imitative  gestures  are  strict  imitations  of  the  ways  of 
another  without  entering  into  his  intellectual  life  and  to  act  ac- 
cordingly. Here,  also,  the  right  medium  must  be  strictly  ob- 
served. According  to  Ling  imitative  gestures  are  also  delineative 
ones.  ^'  Here  is  the  same  distinction  we  make  in  technical  draw- 
ing, drawing  after  models  as  copying,  or  from  nature  according 
to  our  own  ideas  or  fancy.  The  copyist  is  strictly  bound  to  his 
model,  and  the  more  closely  his  copy  represents  the  model  with 
all  its  peculiarities,  and  even  its  faults,  the  better  it  is." 

(^)  Cojiventional gestures  are  those  which  are  executed  by  tacit 
consent  or  custom.  To  this  class  belong  the  ceremonies  of  en- 
tire corporations,  as  well  as  those  individual  ones  which  must 
always  be  learned  from  life,  and  to  enumerate  which  is  impossi- 
ble. The  dramatic  expression  will  be  modified  by  age,  tempera- 
ment, habit,  national  and  popular  customs. 

To  elucidate  this  subject  further  would  be  foreign  to  the  pur- 
pose of  this  book.  We  only  append  Rothsteiri's  words  in  regard 
to  modifications  that  belong  to  different  periods  of  life  : 

"  The  most  casual  observer  cannot  fail  to  perceive  how  much 
these  main  steps  must  be  modified  by  age.  The  gestures  of 
youth  are  animated,  its  manner  restless.  The  youthful  mind 
easily  excited,  but  usually  ingenuous,  will  express  itself  in  its  own 
untrammeled  way  if  not  restrained  by  outside  influences,  or  toned 


GESTURE.  119 

down  by  education.  The  old  man  expresses  himself  with  very 
few  gestures,  dwelling  longer  upon  passages,  and  in  general  with 
measured  dignity.  He  lives  more  inwardly,  is  without  lively 
emotions,  and  displays  but  little  feeling.  In  middle  life,  the 
imitative  movements  are  strong,  decided,  expressive,  but  more 
moderate  than  in  youth.  The  mature  man  controls  his  gestures, 
often  represses  them,  and  not  seldom  affects  reserve,  even  to  ex- 
treme dissimulation.  He  weighs  his  position  in  life,  his  circum- 
stances and  surroundings,  and  conforms  his  actions  to  them." 

It  is  self-evident  that  the  manner  of  gesture  must  be  in  accord 
with  the  costume  and  age  to  which  the  piece  belongs.  It  would, 
for  instance,  be  entirely  wrong  to  give  an  antique  figure  the  step 
and  movement  of  a  person  of  the  time  of  Louis  XIV.  or  vice 
versa.  The  same  distinction  must  be  made  between  a  figure  of 
that  time  and  a  modern  one. 

We  will  return  to  the  above  at  the  description  of  Compliments. 

2.    The  Fundamental  Rules  for  Correct  Action  of  the  Limbs  in 
Gesticre  are  as  folloivs  : 

{a)  Every  gesture  must  render  simply,  truthfully,  but  decidedly 
what  it  has  to  express.  This  law  applies  to  the  gesture  of  the 
doubtful  as  well  as  to  that  of  the  certain.  In  the  former  case, 
the  very  doubt  must  be  decidedly  expressed.     Hence  it  follows  : 

(b)  That  every  movement  not  proceeding  from  the  mass  of 
emotions  to  be  portrayed,  must  be  unavailing.  Let  the  gesture 
be  ever  so  beautiful,  if  it  does  not  obey  this  law,  it  will  become 
unsightly. 

(c)  The  play  of  the  features  must  always  precede  the  gesture  ; 
but  in  depicting  very  excited  mental  moods,  the  gesture  often 
precedes  the  words.  As  a  rule,  it  accompanies  the  text,  and  co- 
incides with  it.  If  the  text  demands  that  a  gesture  should  end 
the  words,  it  follows  upon  them. 

(d)  Gesture  must  not  end  voluntarily  while  speech  still  goes 
on  ;  it  must  accompany  the  words  to  the  end  ;  and  as  in  acting 


I20  ESTHETIC    PHYSICAL    CULTURE. 

there  is  no  pause,  the  actor,  after  his  speech  is  ended,  must  reflect 
in  his  own  features,  in  his  eye  at  least,  that  which  the  other  speaks. 
Here  most  actors  fail.  The  body,  the  face  is  animated  only  while 
they  are  speaking  ;  when  done  speaking  they  fall  into  a  physical 
as  well  as  mental  inactivity,  which  destroys  all  harmony.  Hence 
dumb  play  is  the  most  difficult  of  all.  Here  the  true  artist  is 
manifest. 

(e)  Great  care  must  be  taken  that  the  movements  of  the  limbs 
be  not  exaggerated.  To  use  a  military  simile,  the  actor  must  not 
shoot  with  cannon  when  small  shot  will  answer. 

We  have  already  laid  down  the  fundamental  law  for  arm-move- 
ments. ''As  few  movements  as  possible,"  we  repeat  here  in  re- 
gard to  all  gesture.  The  sins  against  this  law  are  many  and  sur- 
prising. We  give  a  few  instances: — The  head  should  be  turned 
gracefully  and  quickly  to  one  side.  Instead  of  this,  the  whole 
body  is  turned  often  with  constant  shifting  of  the  feet.  The 
whole  hand  and  even  the  arm,  is  used  to  designate  what  could  be 
pointed  out  by  the  little  finger. 

Many  examples  might  be  given.  These  two  will  illustrate  our 
meaning.  How  is  it  possible  to  indicate  an  ascending  scale  in 
passion  by  gesture,  if  we  begin  with  the  strongest  ? 

(/)  A//  the  limbs  must  unite  in  one  gesture,  and  single  limbs 
must  not  be  entirely  in  repose,  while  the  others  express  some- 
thing. We  add  in  order  not  to  be  misunderstood  :  All  the  limbs 
should  not  share  alike  in  one  gesture,  but  they  must  all  express  the 
intention  of  this  gesture  ;  that  is,  the  actor  must  not  make  a  de- 
cided gesture  with  his  hand,  while  his  feet  are  wholly  in  repose  ; 
he  must  not  decidedly  indicate  an  object  with  one  hand  and  the 
upper  part  of  the  body  bent  forward,  while  the  other  hand,  as  if 
not  belonging  to  this  body,  hangs  limp  and  passive  at  the  side. 
A  lively,  but  restrained  imagination,  a  gymnastically  trained 
body  will  observe  the  right  mean. 

(g)  Gestures  must  not  come  close  together  ;  they  must  be  de- 
veloped from  one  another.     Hence,  there  must  be  no  abruptness 


GESTURE.  121 

in  gesture,  if  it  is  not  required  for  expression.  If,  for  instance, 
we  would  express  joy,  and  then  immediately  after  it,  horror,  these 
gestures  must  by  a  rightly  defined  transition,  proceed  from  one 
another ;  that  is,  the  mind  must  retain  a  part,  be  it  ever  so  small, 
of  the  former  mood,  before  the  new  one  can  be  fully  developed. 
This  part  of  acting  is  the  most  difficult  of  arts  ;  its  right  practice 
is  the  stamp  of  perfection. 

(A)  The  stage  walk  must  conform  exactly  to  the  character  re- 
presented, as  well  while  playing  as  when  appearing  on  the  stage 
and  leaving  it.  We  often  see  the  actor  enter  with  his  usual  gait, 
while  the  play  requires  that  of  the  role.  In  leaving  he  also  falls 
back  into  his  own  gait.  This  destroys  that  illusion  which  is  the 
object  of  all  acting. 

Entrance  upon  and  exit  from  the  stage  are  alike  difficult.  Be- 
cause the  actor  seldom  speaks  upon  his  entrance  he  forgets  his 
imitative  character  and  remembers  it  only  when  his  words  begin, 
which  is  false.  Here  let  it  be  remarked  that  many  actors  lay  little 
stress  upon  the  number  of  steps  they  take  in  presence  of  the  au- 
dience ;  in  this  way  they  mar  the  characterization.  The  law  of 
beauty  demands  that  no  steps  be  taken  except  those  required  by 
the  situation.  Here  also  we  must  lay  down  the  fundamental 
law  as  in  arm-movements  :  ^'  As  few  as  possible."  Repose  is  the 
main  thing  in  a  picture.  An  actor  shows  little  culture,  if  in 
representing  a  crowned  head,  he  finds  no  way  to  express  his  dig- 
nity save  in  striding  around  the  stage. 

(/)  It  is  self-evident  that  in  acting  the  player  never  forces  him- 
self to  the  front  unless  the  character  or  the  situation  demand  it, 
and  yet  so  many  unpardonable  blunders  of  this  kind  happen,  that 
we  must  say  a  few  words  in  regard  to  them.  If  the  actor  remains 
true  to  the  character  and  situation,  exaggeration  is  impossible  ; 
but  we  often  see  an  actor  so  exert  himself  to  make  a  great  deal 
out  of  a  minor  part,  that  we  turn  from  him  in  aversion.  The 
actor  must  not  go  an  inch  beyond  his  role,  otherwise  he  will  de- 
stroy its  effect  and  incur  the  reproach  of  presumption,  vanity  and 


122  ^ESTHETIC    PHYSICAL    CULTURE. 

an  inordinate  desire  for  applause.  The  true  actor,  when  upon' 
the  stage,  regards  himself  as  but  a  co-worker  for  the  attainment 
of  a  common  goal. 

Just  as  reprehensible  is  the  manner  of  some  modern  virtuosos, 
who  either  cut  out  the  minor  roles  of  a  piece,  or  shorten  them  so 
that  nothing  of  the  author's  work  remains  but  a  parade  role, 
which  is  sure  to  be  the  one  most  applauded  by  the  public,  while 
the  co-actors,  whose  every  chance  for  effect  is  cut  off,  sink  in  its 
estimation  as  artists.  This  sort  of  clap-trap  arising  from  a 
miserable  vanity  or  desire  for  speculation,  has  had  its  day,  thank 
heaven  I   Let  us  hope  that  its  end  is  near. 

J.  Of  the  Use  of  the  Left  and  Right  Hand, 
My  pupils  have  often  put  to  me  the  question  :  ''What  is  your 
opinion  on  the  use  of  the  right  and  left  hand  ?  Do  you  deem  the 
more  frequent  use  of  the  right  hand  an  act  induced  by  habit  or 
by  inner,  organic  causes  ?  "  These  are  questions  that  require  no 
answer  in  our  book,  still  we  have  to  point  out  how  the  actor 
must  use  them. 

Both  arms  and  hands  must  be  educated  alike  in  order  that  the 
left  maybe  used  at  the  left,  the  right  at  the  right  side.  No  move- 
ment must  take  place  with  the  right  h^nd  to  the  left  side  and 
vice  versa.  To  allow  only  the  slightest  movement  to  the  left 
hand  while  the  whole  burden  of  motion  falls  upon  the  right  hand, 
betrays  the  untrained  actor.  And  still,  we  find  this  fault  in  dis- 
tinguished actors.  Circumstances  arise  upon  the  stage,  when, 
as  in  daily  life,  the  right  hand  only  must  be  used,  as  in  the  oath, 
the  shaking  of  hands,  etc.  All  this  whether  one  stands  to  the 
left  or  right  on  the  stage  must  be  executed  with  the  right  hand  ; 
but  if  an  occasion  arises  when  either  may  be  used,  in  the  move- 
ment to  the  left,  it  must  always  be  the  left  hand  that  is  taken  ;  in 
that  to  the  right,  always  the  right  hand.  Here,  for  example,  be- 
longs the  kiss  of  the  hand.  If  the  lady  stands  upon  the  gentle- 
man's left  he  may  be  easily  led  to  take  her  hand  in  his  right  in- 
stead of   his  left  hand  ;    but  this  would    look  awkward.     ( See 


GESTURE.  123 

Handkiss).  Just  so,  if  one  would  hand  or  pass  something  from 
or  to  the  left  side,  he  all  too  readily  employs  the  right  hand. 
This  is  entirely  wrong. 

If  in  sitting  at  table  one  has  to  serve  wine  to  the  right  and  left 
( although  serving  usually  takes  place  with  the  right  hand),  he 
must  reverse  our  rule  and  serve  to  left  with  the  right  and  to 
right  with  the  left  hand,  since  it  is  awkward  to  hold  the  wine-bottle 
in  such  a  way  that  the  nails  of  the  hand  are  turned  upward,  or  to 
turn  around  so  much  that  one's  back  is  to  one's  neighbor. 

It  is  absolutely  necessary  in  daily  life,  as  upon  the  stage,  that 
the  hands  be  trained  in  like  manner.  If  in  daily  life  we  have  not 
always  a  public  before  us,  we  have  one  around  us  in  society,  and 
it  is  both  awkward  and  discourteous,  if  when  sitting  with  the  left 
side  to  the  table  and  with  the  body  inclined  forward,  we  take 
from  it  a  cup  of  tea,  or  whatever  else  it  may  be,  with  the  right 
hand.     This  always  shows  a  lack  of  tournure. 

4.   Greetings  Prayer^  Oath. 

The  expressions,  and  signs  in  salutation,  vary  greatly  among 
different  nations.  That  kind  feeling  inborn  in  every  man,  as  well 
as  its  expressions  and  tokens  embodied  in  the  salutation,  are  more 
or  less  diversified  according  to  the  degree  of  his  culture,  his  re- 
ligious.and  political  ideas,  his  nationality,  race,  position  and  social 
rank.  Thus  the  manner  of  greeting  indicates,  in  some  sort,  the 
elementary  character  of  a  people,  a  tribe,  and,  in  many  respects, 
a  single  individual. 

The  Orientals  always  have  been  and  still  remain  far  more  volu- 
ble and  ceremonious  in  their  manner  of  salutation  than  the  Oc- 
cidentals. Among  all  Asiatic  people  it  is  the  custom  to  prostrate 
one's  self  in  token  of  utter  subjection,  while  serfdom  in  Europe 
required  this  only  partially  and  incidentally.  Until  very  recently, 
Asiatic  subjects  addressed  their  kings  only  kneeling  or  prostrate 
in  the  dust,  regarding  them  as  supernatural  beings.  This  manner 
of  salutation  first  came  in  vogue  among  the  Romans,  under  the 
reign  of  Diocletian,  (about  A.  D.  300).   The  custom  in  Europe  may 


124 


ESTHETIC   PHYSICAL   CULTURE. 


be  regarded  as  an  after-growth,  respect  and  submission  having 
been  until  quite  recently  expressed  merely  by  kneeling,  a  practice 
still  common  in  Russia. 

J.  Salutations  of  the  Heh'ews. 

(a)  Benediction. —  Divine  service  was  ended  by  the  priestly  bene- 
diction with  extended  hands  and  bowed  form  :  ''  The  Lord 
bless  thee  and  keep  thee,"  etc.  The  priest  who  gave  the  bene- 
diction, covered  his  face  with  both  hands.     (Fig.  LXI.) 


Fig.  LXI. 

P'or  the  better  understanding  of  the  position  of  the  fingers  the  engraver  has 
shown  the  hands  in  an  upright  position.  They  must,  however,  be  held  bent 
forward  though  directly  covering  the  face. 

(p)  The  Civil  Greeting. — Not  to  return  a  salutation  was  con- 
sidered the  height  of  ill-breeding.  It  was,  however,  the  custom 
not  to  salute  those  mourning  or  fasting,— a  custom  still  in  vogue. 
Distinguished  persons  must  be  greeted,  however,  but  if  they  were 
fasting  or  in  sorrow,  they  need  return  no  answer. 

In  coming  and  going,  as  well  as  in  meeting,  the  lower  bowed 
before  the  higher,  repeated  his  obeisance,  bowed  more  profoundly 
according  to  the  rank  of  the  person  greeted,  sometimes  falling 
upon  the  earth.  People  also  fell  upon  one  another's  necks  and 
exchanged  kisses.  The  kiss  was  a  token  of  mutual  good  wishes, 
also  a  sign  of  reverence  and  homage.     It  was  given  upon  arrival, 


GESTURE.  125 

at  meeting  and  parting.  The  mouth  or  beard  was  grasped  by 
the  hand,  and  kissed.  Toward  princes,  the  kiss  was  a  sign  of 
homage.     As  such,  it  was  imprinted  upon  the  hand  or  knee. 

The  Hebrew  never  uncovered  the  head  in  greeting  high  or  low. 
In  Hke  manner  he  prayed  —  prays  to  this  day  —  with  covered  head. 
It  was  a  shame  for  women  to  uncover  the  head.  The  head  of 
the  woman  found  guilty  of  adultery  was  violently  bared  by  the 
priest. 

The  uncovering  of  the  head  as  now  practiced  in  Europe  to  ex- 
press reverence,  respect,  good  will,  came  after  the  promulgation 
of  Christianity,  but  became  with  higher  culture,  a  symbol  of  salu- 
tation among  men.  (Women  never  uncover  the  head  in  greet- 
ings). Notwithstanding  the  Hebrew  custom  of  covering  the  head 
in  sacrifice  or  prayer,  the  apostle  Paul  forbade  it.  And  so  it 
happened  that  among  later  Christians,  it  became  a  fashion  to  un- 
cover the  head  to  exalted  persons  in  token  of  reverence  or  kind 
wishes. 

(c)  Position  in  Prayer. —  'The  Hebrew  who  prays,  stands  with 
his  face  to  the  east,  his  form  erect,  his  feet  together,  his  hands 
folded  across  his  breast,  or  their  palms  folded  and  in  this  way 
raised  to  heaven.  He  retains  this  attitude  during  his  whole 
prayer.  Whenever  the  name  of  God  occurs  in  his  prayer,  he 
bows  more  or  less  profoundly.  The  Hebrew  never  prays  kneel- 
ing ;  but  in  the  temple,  the  whole  congregation  fall  on  their 
knees,  as  soon  as  the  name  of  God  is  uttered.  When  the  prayer 
ends  the  suppliant  takes  a  few  steps  backward  to  denote  this. 
Naturally  this  happens  only  in  long  prayers. 

(d)  The  Oath. — In  the  oath  the  Hebrew  raised  his  right  hand 
to  heaven. 

6.    The  Moslem  Salutation. 

(a)    Prayer.— The  Mussulman    prays   like  the   Hebrew  with 

covered  head.     The  one  who  prays,  stands  with  his  face  toward 

Mecca,  lifts  both  hands  to  his  face,  touches  the  tips  of  the  ear 

with  the  end   of  his  thumb,  and  says  :    ''  God  is  very  great ! " 


126  ESTHETIC    PHYSICAL   CULTURE. 

Then  he  begins  his  prayer,  now  standing,  now  kneeUng,  now  with 
nose  and  forehead  touching  the  floor. 

If  he  prays  kneeUng,  he  sits  upon  his  heels,  his  hands  with  out- 
spread fingers,  resting  upon  the  thigh  or  above  the  knee  ;  some- 
times he  rises  and  makes  low  reverences.  The  Mussulman  prays 
so  assiduously  that  if  in  journeying  he  comes  to  water,  he  washes 
his  hands  and  then  spreads  out  a  rug  and  prays. 

If  he  prays  standing  and  does  not  know  in  what  direction 
Mecca  lies,  he  keeps  turning  around  during  prayer. 

In  taking  an  oath,  the  Turk  raises  one  or  all  the  fingers  of  the 
right  hand. 

{b)  The  Citizens  Greeting. —  The  usual  salutation  in  meeting 
is,  ^'  Peace  be  with  you  !  "  The  answer  is  the  same.  This  is 
called  the  selam. 

Among  highly-fared  people  it  is  the  custom  for  him  who  first 
salutes,  as  well  as  for  him  who  returns  the  salutation,  to  lay  the 
right  hand  upon  the  heart,  or  in  rare  instances  to  touch  his  lips, 
then  his  forehead  or  turban  with  the  same  hand.  This  is  called 
the  tejnmieh,  and  is  the  most  respectful  manner  of  greeting,  the 
one  especially  used  in  intercourse  with  distinguished  people.  v 

Among  the  Moslems,  Persians  and  Egyptians,  if  people  of 
lower  rank  meet  those  of  a  higher,  the  selam  is  seldom  uttered; 
it  is  expressed  symbolically  by  touching  the  heart,  the  seat  of 
emotion,  with  the  hand,  bowing  in  deepest  humility  and  then 
touching  the  earth,  lips  and  forehead  with  the  hand.  It  is  quite 
usual  among  the  Moslems  for  the  one  who  salutes  to  place  both 
hands  on  the  turban. 

There  is  also  a  prevalent  custom  of  kissing  the  hand,  usually 
upon  the  wrist  or  palm,  and  then  laying  it  on  the  forehead  to  ex- 
press peculiar  respect,  submission  and  humility.  The  deepest 
submission  is  shown  by  kissing  the  foot  instead  of  the  hand. 
The  son  kisses  the  hand  of  his  father,  the  woman  that  of  her  hus- 
band, the  slave  and  also  the  freed  servant  that  of  the  master.     A 


GESTURE.  127 

great  man's  slaves  or  servants  kiss  their  master's  sleeve  or  the 
hem  of  his  garment. 

Friends  salute  by  each  placing  his  right  hand  in  that  of  the 
,  other  ;  then  each  kisses  his  own  hand,  carries  it  to  his  lips  or 
forehead,  or  merely  lays  it  on  his  heart  without  kissing  it. 

After  long  separation,  they  embrace  or  fall  upon  each  other's 
necks  and  kiss,  first  upon  the  right  then  upon  the  left  cheek  or- 
the  neck.     The  head  is  never  uncovered  in  salutation. 

The  laughable  custom  of  bowing  in  supposed  Oriental  fashion 
upon  the  stage  with  hands  crossed  upon  the  breast,  should  give 
place  to  the  true  method. 

(c)  At  Visits. —  Upon  entering  the  room  in  which  the  master 
of  the  house  sits,  one  utters  the  selam.  The  host  returns  the 
salutation.  If  the  visitor  is  of  lower  rank,  the  master  of  the 
house  remains  sitting  ;  if  of  the  same  rank,  he  makes  a  slight 
movement  as  if  to  rise.  If  he  stands  higher  in  office,  religious 
or  scientific  repute,  the  host  rises  and  approaches,  according  to 
rank,  one  or  more  steps  to  the  middle  of  the  room,  to  the  door^ 
to  the  passage  between  the  chamber  and  the  court,  or  into  the 
court  itself. 

If  the  visitor  stands  higher  or  not  lower  than  the  master  of  the 
house,  he  receives  a  pipe  from  the  latter  ;  in  other  cases  he  is 
served  by  his  slaves.  A  cup  of  coffee  is  then  set  near  each. 
While  the  visitor  takes  the  coffee  with  or  without  a  pipe,  he  salutes 
the  host  with  the  tejmineh,  which  is  returned.  The  same 
happens  when  he  gives  back  the  cup  to  the  servant.  In  the  same 
manner  the  host  salutes  the  guest  every  time  he  receives  his  cup 
and  hands  it  back,  in  case  he  is  not  far  below  him  in  rank. 

If  the  visitor  is  of  higher  rank,  the  host  will  accompany  him  to 
the  stairs  or  door. 

7.   Chinese  Salutations. 
While  we  find  dignified  reverences  among  the  Hebrews  and 


128  ESTHETIC    PHYSICAL   CULTURE. 

Moslems,  we  see  among  the  Chinese  more  bowing  than  obeisances, 
quick  successions  of  them  indeed  with  much  clasping  of  hands. 

Of  all  Oriental  peoples,  the  Chinese  are  the  only  ones  who 
offer  salutation  with  bared  head  like  the  Europeans,  but  this  is 
only  before  magistrates  and  when  one  wears  a  broad- brimmed 
straw  hat.  A  silent,  respectful  attitude  is  indispensable  in  pres- 
ence of  an  officer,  who  himself  gazes  down  in  scorn.  This  law 
of  etiquette  must  be  strictly  observed.  Before  exalted  personages 
it  is  the  custom  to  bow  profoundly,  to  even  prostrate  one's  self 
upon  the  earth. 

The  Chinese  honor  the  gods  whose  statues  are  in  people's  houses, 
by  prostration  before  them.  Before  the  emperor,  one  prostrates 
himself,  and  touches  the  floor  nine  times  with  his  forehead. 

Upon  entering  and  leaving  a  court  of  justice,  subalterns  make 
a  low  bow  to  the  officers. 

8.  Hindoos^  Greeks  and  Romans. 

The  Hindoo  salutation  consists  in  touching  the  forehead  and 
"bowing  the  head  to  the  earth.  In  Sumatra  and  other  East  India 
islands,  it  consists  in  prostrating  one's  self  on  the  ground  or  plac- 
ing the  foot  of  the  person  saluted  upon  one's  head. 

The  Greeks,  in  praying  and  taking  oaths,  raised  both  arms  and 
hands,  with  the  inner  palms  together,  the  little  fingers  turned 
outward. 

The  Romans  likewise  raised  both  arms,  but  with  this  difference  : 
The  inner  palms  were  outward  and  still  turned  upward  by  a  back- 
ward movement  of  the  wrist.  In  both  cases  the  fingers  must  be 
neither  clasped  nor  apart,  but  maintain  their  natural  position. 

It  was  an  old  Greek  and  Roman  custom  to  greet  the  coming 
and  departing  guest  with  a  shake  of  the  hand,  always  giving  the 
right  hand.  Among  all  ancient  peoples  the  right  hand  was  sacred. 
Blood  relatives  and  intimate  friends  did  not  give  the  hand  only  ; 
they  embraced  and  kissed  each  other. 

It  was  the  Roman  custom  to  kiss  not  the  lips  only,  but  the  right 


GESTURE.  129 

hand.  Among  the  ancients  there  was  a  sort  of  kiss  in  which  boys 
grasped  both  ears  of  their  parents  and  other  relatives  with  both 
hands,  and  thus  kissed.     Lovers  also  kissed  in  this  way. 

The  Romans  in  all  things  showed  greater  honor  to  rulers  than 

to  private  individuals.     When  rulers  came  and  went,  all  present 

rose  from  their  seats.     In  meeting  them  the  head  was  uncovered. 

p.  Salutation^  Oath  and  Prayer  of  Modern  Times  According  to  the 

European  Fashion  among  Civilized  People. 

The  uncovering  of  the  head  is  a  general  custom.  Once  prac- 
ticed only  in  presence  of  people  of  high  rank,  it  has  been  in  vogue 
as  a  common  salutation  since  the  seventeenth  century. 

The  Russians,  upon  Easterday,  salute  with  a  kiss  on  the  fore- 
head. In  Poland  the  peasant  greets  the  priest  with  a  kiss  on  the 
hand  ;  the  higher  classes  grasp  the  hand,  but  instead  of  kissing  it, 
they  still  retain  it,  and  kiss  the  priest's  shoulder. 

The  greeting  of  the  present  day  consists  in  removing  the  hat 
with  gentlemen  ;  in  a  slight  bow  with  ladies. 

The  rococo  time  ordained  that  in  removing  the  hat  and  placing 
it  on  the  head,  no  bow  should  be  made,  but  the  hand  perform 
the  whole  business.  Modern  custom  demands  that  the  removal 
of  the  hat  be  accompanied  with  a  slight  bow  and  turn  of  the  head 
toward  the  one  saluted.  The  hat  must  always  be  grasped  with  the 
hand  opposite  the  glance,  and  remain  off  the  head  until  one  is  quite 
beyond  the  line  of  the  person  greeted.  The  hand  must  mean- 
time hold  the  hat  in  such  a  way  that  its  inside  is  not  turned 
toward  the  one  saluted,  but  toward  one's  self. 

Military  salutations  are  subject  to  certain  rules,  and  demand  a 
special  study  foreign  to  the  purpose  of  our  book. 

Salutation  in  a  room  takes  place  by  a  bow  more  or  less  pro- 
found according  to  the  rank  of  the  person  saluted.  This  subject 
is  further  treated  under  the  head  of  ^' Compliment." 

The  Oath  of  Christian  people  is  taken  by  men  with  an  uplift- 
ing of  the  right  arm  and  holding  up]of  the  three  fingers  from  the 
thumb,  while  the  last  two  are  turned  inward.     The  fingers  held 


I30  ESTHETIC   PHYSICAL   CULTURE. 

up  must  not  be  in  close  contact  but  retain  their  natural  position. 
Women  and  priests  place  the  three  fingers  only  on  the  left  side  of 
the  heart. 

Prayer  is  made  by  Catholics  mostly  while  kneeling  ;  by  Pro- 
testants standing  with  bowed  heads  and  clasped  hands. 

It  is  self-evident  that  all  rules  given  under  the  heads,  Saluta- 
tion, Prayer  and  Oaths  must  not  be  slavishly  imitated  upon  the 
stage  ;  but  if  the  actor  would  grasp  the  various  characteristics,  he 
can  do  so  only  by  a  full  knowledge  of  their  use.  It  is  left  to  his 
fine  tact  to  appropriate  what  is  necessary  and  proper  for  the 
serious  as  well  as  the  comic  drama. 

VARIOUS    FAULTY    GESTURES    AND    THEIR    CORRECTION. 

I,  Drinking. 

If  the  actor  has  a  full  glass  in  his  hand,  in  raising  it  to  give  a 
toast  he  is  apt  to  fall  into  a  very  absurd  gesture.  He  lifts  the 
hand  containing  the  glass  without  considering  that  fluids  are  not 
solid  bodies  ;  and  after  he,  in  any  event,  would  have  spilled  the 
contents  by  this  movement,  he  enacts  the  pantomime  of  drinking. 
Nothing  can  be  more  absurd  than  this.  One  has  only  to  take  a 
really  full  glass  in  hand  and  note  how  different  will  be  the  gesture. 
The  glass  is  certainly  raised  at  the  toast,  not  with  a  jerk,  however, 
but  with  a  gentle  arm-movement. 

Many  commit  just  as  great  an  error  when  sitting  before  a 
full  pitcher  or  cup  from  which  they  must  drink  for  a  long  time  ; 
they  make  at  the  first  or  second  draught,  a  movement  indicating 
that  the  liquid  is  all  gone,  and  after  this  pretend  to  drink  from 
the  already  empty  vessel.     This  must  be  carefully  avoided. 

If  the  actor  has  to  drink  continuously  from  a  glass  or  mug, 
without  power  to  refill  it,  he  must  reckon  exactly  how  he  may 
represent  the  gradual  exhaustion  of  the  vessel.  This  must  also 
be  observed  in  pouring  wine  from  a  bottle  or  pitcher.  The 
second  pouring  usually  gives  the  spectator  an  idea  that  the  vessel 
is  empty,  and  yet  we  see  the  actor  go  on  making  the  motion  of 
pouring  from  the  empty  bottle. 


GESTURE.  131 

Neither  must  the  drinker,  as  a  man  of  the  world,  bend  his  head 
down  to  the  cup  ;  he  must  carry  it  to  his  mouth.  If  the  drinking 
is  characteristic,  if  it  is  to  represent  an  extraordinary  thirst,  a  sort 
of  eagerness,  the  head  must  be  bent  toward  the  cup  more  or  less 
according  to  the  degree  of  thirst,  or  the  lower  or  higher  rank  of 
the  person. 

Trivial  as  these  faults  are,  they  are,  nevertheless,  faults,  and 
the  actor  must  not  suppose  that  they  escape  the  close  observer. 
They  excite  a  smile,  the  smile  leads  to  a  laugh,  which  called  forth 
in  the  wrong  place  will  spoil  everything. 

2.   The  Holding  of  a  Cup  of  Coffee  or   Tea. 

If  a  cup  is  to  be  finely  held,  the  spoon  must  not  be  placed  in 
the  saucer,  but  must  remain  in  the  cup.  The  saucer  is  held  with 
the  left  hand,  the  cup  with  the  right  (Fig.  LXII.)  and  is  carried 


Fig.  LXII. 

to  the  mouth  without  bending  the  head  toward  the  cup,  and  re- 
placed the  same  way  in  the  saucer.  To  take  sugar  with  the 
fingers  is  always  "bad  form.'* 

J.  Patomimic  Reading  and  Letter  Writing. 

Both,  as  a  general  thing,  occur  upon  the  stage  in  so  remarkably 
short  a  time  that  it  is  impossible  for  the  spectator  to  believe  in 
the  truth  of  what  he  sees. 


132  ESTHETIC   PHYSICAL   CULTURE. 

Reading. —  Every  letter  has  a  superscription.  Let  the  letter 
contain  what  it  will ;  it  may  set  the  reader  into  ever  so  much  ex- 
citement (sorrow,  joy,  pain,  etc.,)  he  usually  reads  its  superscrip- 
tion calmly,  if  it  does  not  of  itself  prophesy  misfortune,  or  the 
reader  does  not  already  know  that  misfortune  awaits  him.  Here 
a  pause,  be  it  ever  so  short,  is  necessary  ;  then  begins  the  panto- 
mime of  reading  the  letter.  Whether  it  is  long  or  short,  the  ef- 
fect must  in  this  way  be  visible  to  the  spectators.  The  actor  has 
exactly  to  indicate  the  preface,  the  continuation  and  at  last  the 
culmination  of  the  letter,  if  ever  so  short,  before  he  passes  over 
to  its  eifect  in  the  pantomime.  But  as  we  see  constantly,  es- 
pecially in  opera  letter  reading,  the  opening  and  the  patomime 
of  the  climax  are  one,  and  the  reading  takes  place  with  a  rapidity 
that  in  real  life  would  not  suffice  for  reading  the  simplest  super- 
scription.    The  tragic  situation  thus  becomes  comic. 

Writing. —  In  just  such  an  unnatural  way  writing  takes  place 
upon  the  stage.  If  the  actor  has  not  as  much  time  as  the  writing 
of  the  letter  really  demands,  he  must  strictly  hold  to  the  required 
stage  time  if  he  would  hot  destroy  all  illusions.  But  most  letters 
are  written  in  as  short  a  time  as  the  mere  signature  of  the  writer 
would  demand.  We  seldom  see  the  letter  dried  in  pantomime 
by  sand  or  blotting  paper,  and  the  audience  have  the  involun- 
tary feeling  that  its  receiver  receives  a  blotted,  illegible  letter, 
which  is  against  the  laws  of  good  breeding.  If  the  actor  has  no 
blotting  paper  upon  his  desk,  he  must  go  through  the  patomime 
of  using  sand.  But  he  must  not  forget  to  shake  off  the  sand,  for 
it  is  as  bad  form  to  send  a  letter  full  of  sand  as  a  blotted  one. 

^' One*  thing  I  implore,  no  more  sand  upon  the  little  notes  you 
write  to  me  !  To-day  I  quickly  passed  it  to  my  lips,  and  my 
teeth  grated."     (Werther  to  Lotte.) 

Here  Goethe  is  only  in  jest,  but  it  is  really  not  nice  to  show 
sand  upon  a  letter,  nor  quite  respectful  to  a  superior.  It  is  bet- 
ter to  use  blotting  paper  which  should  be  upon  every  writing-table. 
If  neither  is  at  hand,  the  actor  must  make  a  slight  movement 


GESTURE.  133 

through  the  air,  to  hint  at  least  at  drying  ;  and  a  hint  suffices  on 
the  stage. 

4.  Turning  the  Leaves  of  a  Book. 
Many  in  real  life  have  the  habit  of  moistening  the  finger  at  the 
mouth  in  turning  a  leaf,  and  carry  this  habit  to  the  stage.  The 
reason  of  this  is  a  fear  that  two  leaves  may  be  turned  instead  of 
one.  It  is  a  habit  wounding  to  fine  sensibilities,  and  upon  the 
stage,  where  there  should  always  be  the  semblance  of  good  socie- 
ty, it  is  more  offensive  than  in  real  life.  The  leaf  to  be  turned 
must  not  be  seized  at  the  very  moment  of  turning,  but  some 
time,  in  advance  thereof,  and  in  the  following  manner  :  Lay  the 
thumb  lightly  on  the  leaf  to  be  turned,  and  at  its  upper  edge 
sever  it  lightly  from  the  others  with  the  index  and  middle  fingers. 

5.    Use  of  a  Pencil, 

It  is  just  as  ill-mannered  to  moisten  the  pencil  at  the  mouth, 
from  time  to  time.  If  the  pencil  is  good  it  will  do  its  work  un- 
moistened  ;  if  bad,  moistening  is  of  no  use,  for  it  must  follow 
every  word,  and  how  would  such  writing  look  ? 

These  are  slight  faults,  but  if  one  aspires  to  high  and  noble 
things,  he  must  avoid  them. 

PRACTICAL    EXERCISES    FOR    PUPILS. 

If  the  pupil  has  mastered  the  first  three  parts  of  our  book,  the 
preparatory  steps  demanded  by  our  system  are  nearly  ended. 
His  next  step  must  be  a  practical  application  of  what  he  has 
learned, — by  gestures  and  movements  without  words. 

A  few  examples  will  illustrate  our  demand.  We  take  these 
from  Fred.  Ludwig  Schmidt's,  "  Aphorisms,"  a  book  to  be  warmly 
commended  to  every  disciple  of  art,  that  is  to  say,  after  he  has 
mastered  perfectly  the  three  above  mentioned  parts  of  our  book. 
Otherwise  the  following  and  all  similar  demands  made  upon  the 
pupil  will  be  useless  work  to  both  pupil  and  teacher.  These  trials 
are  : 

I.  A  simple  entrance,  a  walking  forward,  the  handing  of  a  let- 


134  ESTHETIC    PHYSICAL    CULTURE. 

ter,  the  reception  of  a  hint  to  leave,  turning  with  respect  to  one 
or  several  persons  in  the  room. 

2.  The  pupil  tries  an  entrance  in  his  own  character.  He 
imagines  that  he  enters  a  hall  containing  a  brilliant  assemblage. 
How  many  grades  of  movement,  how  many  of  bearing  are  sup- 
posable  here  ?  Decorous  walking  forward  in  itself  ;  bowing  in 
general,  then  in  particular  to  the  mistress  and  master  of  the  house, 
to  a  distinguished  guest,  to  an  acquaintance,  a  relative  ;  each  situ- 
ation demands  ever  so  subtle,  yet  a  different  movement.  If  one 
will  pursue  this  business  still  further,  he  may  imagine  some  event  ; 
it  may  be  to  pick  up  a  fallen  card  and  hand  it  over  properly  (see 
Part  Third);  to  bring  a  chair  to  a  lady,  or  to  conduct  her  with  the 
required  gallantry  to  a  sofa.  Many  such  cases  are  at  hand  and 
can  be  utilized  by  the  pupil. 

3.  The  pupil  walks  slowly  in  at  the  door,  lingers  here  in  an  un- 
easy attitude,  strides  forward  with  interrupted  steps,  then  falls 
slowly  down  on  the  left  knee  (if  the  object  of  his  homage  is  at  his 
right).  He  now  imagines  her  flying  to  his  left  ;  he  rises  anxiously 
follows  with  quickened  steps,  and  ventures  here  a  sudden  fall, 
using  the  right  knee,  lingers  entreating,  then  rises  quickly, 
makes  a  movement  to  go,  tarries,  glances  back  and  now  hastens 
from  the  stage.  In  this  practice  a  change  in  step  or  gait  is  to  be 
accurately  observed.  The  teacher  allows  a  pause  at  every  change 
of  attitude,  and  arranges  the  proper  carriage  of  the  whole  body 
with  constant  care  to  its  always  appearing  half  turned  toward  the 
parquet. 

4.  The  pupil  paces  the  stage  in  a  passionate  mood,  strides  over 
it  in  all  directions,  makes  a  longer  or  shorter  pause  at  each,  throws 
himself  exhausted  upon  a  sofa,  springs  up,  hastens  in  towering 
passion  to  the  door,  feigns  meeting  a  horrible  object  here  and 
swoons. 

Here  would  be  the  whole  gamut  from  the  first  calm  step  to  the 
wild  plunge.  This  it  is  which  is  learned  from  no  dancing  mas- 
ter ; — to  which  only  a  skilled  artist  can  lead  the  way,  by  whom 


GESTURE.  135 

the  practice  only  briefly  hinted  at  here  may  be  indefinitely  ex- 
tended. 

The  next  practice  in  mimic  representation  is  confined  to  cer- 
tain passions  which  the  teacher  gives  at  will,  mounting  from  easy 
to  difficult,  expanding  them  in  all  directions  ;  proving  whether  the 
pupil  can  put  to  practical  use  all  he  has  learned  or  must  be  helped 
here  and  there,  and  where. 

If  the  teacher  is  convinced  that  the  pupil  satisfies  these  de- 
mands, and  the  latter  has  brought  his  voice  and  speaking  appa- 
ratus to  the  same  degree  of  cultivation  as  his  body,  then  he  may 
proceed  to  the  third  step  of  culture  in  which  words  are  united  to 
gesture  ;  to  dramatic  representation,  passing  on  systematically 
from  the  easy  to  the  difficult. 

If  the  pupil  is  educated  by  another  than  this  rational  method, 
as  has  mostly  been  the  case  hitherto,  his  future  depends  upon  ac- 
cident ;  he  will  waste  his  best  years  in  a  search  for  laws  which 
have  nothing  to  do  with  the  fundamental  principles  of  the  actor's 
art.  In  coming  and  going,  in  twisting  and  turning,  in  the  car- 
riage and  movements  of  the  arms,  we  still  recognize  the  begin- 
ner even  after  years.  Yes,  he  not  seldom  betrays  it  in  minor 
things,  by  falling  into  mannerisms, —  and  magnificent  talents  are 
in  this  way  lost  for  dramatic  art. 


PART    FOURTH. 


THE  ART  OF  DANCING. 


CHAPTER  I. 


THE  ART  OF  DANCING. 


(U1TI7EESI' 


Dancing  is  usually  divided  into  two  sorts  : 

1.  The  Society  and  National  Dance. 

2.  The  Theatrical  Dance. 

Although  almost  every  country  has  a  peculiar  kind  of  society 
dance,  they  are  all  alike  in  that  two  or  more  persons  take  certain 
prescribed  steps,  more  or  less  complicated,  to  musical  tempOy  and 
repeated  ad  libitum. 

We  find  the  dance  in  the  most  ancient  times,  but  naturally  in  a 
simple  form.  In  the  middle  ages  it  fell  into  disuse,  not  reviving 
until  the  seventeenth  century,  and  then  in  Italy,  from  whence  it 
went  to  France  and  there  attained  the  high  perfection  it  enjoys 
to-day. 

I.   Carriage  of  the  Body. 

The  Upper  Body. —  It  is  important  in  ordinary  life  that  the 
body  and  its  limbs  should  appear  only  in  plastic  attitudes,  but 
this  is  especially  requisite  in  the  art  of  dancing.  A  carriage  erect 
but  without  stiffness,  an  easy,  unembarrassed  bearing  of  the  arms, 
a  pleasing  and  agreeable  position  of  the  hands  and  fingers  are  in- 
dispensably essential.  We  attain  these  by  expanding  the  chest, 
throwing  back  the  shoulders,  and  letting  the  head  set  lightly  and 
easily  upon  the  shoulders. 

The  character  dance  certainly  demands  various  positions  of  the 
.body  ;  but  elasticity,  grace  and  decorum  are  main  conditions  which 
even  in  the  rudest  national  dance  must  not  be  wanting.  If  one 
pretends  to  the  name  of  artist,  these  must  be  strictly  observed. 

Legs  and  Feet. — The  main  rule  is  that  from  the  hips  to  the 
thigh  and  knee,  the  upper  legs  must  be  turned  sharply  outward, 
whereby  the  lower  legs  and  toes  are  forced  into  the  same  position 


I40 


ESTHETIC   PHYSICAL   CULTURE. 


2.  Fundamental  Positions  and  Movements. 

There  are  five  positions  of  the  feet  and  three  of  the  arms,  the 
third  of  which  is  of  a  twofold  sort ;  and  four  fundamental  move- 
ments, viz.:  Two  knee-movements,  bending  and  extending  (every 
dance-movement  begins  with  bending  and  ends  with  extending) ; 
and  two  movements  of  foot-bending,  including  the  toes  —  up  and 
down  tension.  From  these  fundamental  attitudes  and  movements 
arise  the  fundamental  steps. 

As  seven  notes  form  the  foundation  of  the  art  of  music,  so 
seven  steps  form  the  basis  of  the  present  art  of  dancing  ;  and  new 
and  complicated  steps  arise  only  from  the  quicker  or  slower  transi- 
tion from  the  one  to  the  other,  the  blending  of  two  or  more  steps, 
and  the  more  or  less  frequent  repetition  of  the  one  step  or  the 
other. 

J.   The  Position  of  the  Feet. 

First  Position. — Both  heels  together,  the  toes  as  far  apart  as 
possible.     (Fig.   LXIII.)     Every  other  position  of  the  toes,  so 


Fig.  LXIII. 
that  the  heels  only  remain  closed,  is  also  called  the  first  position. 
Second  Position.—  The  right  or,  left  foot  in  a  straight  line  side- 
ward.    (Fig.  LXIV.) 


DANCING. 


141 


Third  Position. —  The  heel  of  one  foot  stands  by  the  inward 
middle  of  the  other.     (Fig.  LXV.) 


Fourth  Position.- 
feet  are  separated. 


Fig.  LXV. 

-  Like  the  third,  with  the  difference  that  the 
(Fig.  LXVL) 


Fig.  LXVL 

Fifth  Position. —  The  toes  sharply  turned  outward,  press  one 
of  them  against  the  heel  of  the  other  foot.     (Fig.  LXVII.) 

While  the  first  four  positions  are  met  with  at  every  moment  of 
daily  life,  the  fifth  position  is  found  in  the  dancing  art  only,  where 
it  passes  as  a  proof  of  artistic  dexterity. 

The  positions  are  also  divided  into  closed  and  open.  The 
closed  are  the  firsts  third  and  fifth  ;  the  open,  the  second  and 
fou7'th.  The  removal  of  the  foot  into  the  open  position  is  made 
according  to  the  size  of  the  body,  and  will  be  right  if  the  knees 
remain  tense  and  the  bodily  carriage  is  natural. 


142 


ESTHETIC   PHYSICAL   CULTURE. 


Fig.  LXVII. 

From  the  four  fundamental  movements  —  bending,  extending- 
tension  up  and  down  —  arise  eight  main  movements.  These  ren- 
der possible  every  action  of  the  foot  out  of  the  fundamental  posi- 
tion, remaining  in  one  place  or  taking  various  directions,  and  are 
named  as  follows: — 

(a)  The  right ;  a  direct  line  forward  and  backward. 
(/')  Open  ;  spread  to  the  sideward,  right  and  left, 

(c)  Round  ;  circular  formed. 

(d)  Tortuous  ;  in  serpentine  windings. 

(e)  Slippery  ;  slipping,  gliding,  grazing. 

(/)  Leaping  and  falling  back  ;  hopping  or  springing  upward, 
and,  in  consequence,  again  falling  back  or  down. 

(g)    Tourne  ;  turning  with  swinging  motion. 

(h)  Battii ;  beating  in  the  widest  sense  ;  that  is,  beating  out- 
ward, inward,  toward,  or  together. 


4,    The  Positio7i  of  the  Arms. 

First  position. —  The  arms  hang  unrestrained  and  lightly  at  the 
side.  (Fig.  LXVII.  a—d,  ej  also  Fig.  XXXIL;  a,  c  and  Figs. 
X.  and  X.  a,  i.) 


DANCING. 


143 


^%^^' 


Fig.  LXVII.  a. 

Second  Position. —  Both  arms  swing  horizontally  at  the  side, 
the  thumbs  upward.     (Fig  XXVII. ,  4,  4.) 

Third  Position  (a). —  The  arms  swing  horizontally  forward  a 
shoulder's  breadth  from  each  other.     (Fig.  LXVII.  a, —  d,  a.) 

Third  Position  (d). —  The  arms  are  equally  removed  from  each 
other,  perpendicularly  at  the  sides  of  the  head.  (Fig.  LXVII. 
a, —  dy  b.) 

This  position,  as  well  as  the  transition  from  the  second  posi- 
tion (also  from  the  third  position  a)  to  the  third  position  {b)  indi- 
cates, in  pantomime,  only  exaltation  (high  passion),  and  finds  no 
application  in  society  dances. 

We  found  in  ^Esthetic  Gymnastics  the  application  of  the  posi- 
tions of  the  arms;  here  it  may  only  be  remarked  that  in  their  exe- 
cution an  avoidance  of  all  angles  and  an  easy,  agreeable,  rounded 
form  are  the  main  conditions. 


144  ESTHETIC    PHYSICAL    CULTURE. 

5.  Exercises  Preliminary  to  the  Dance. 

If  the  pupil  has  thoroughly  pursued  the  course  of  gymnastics 
laid  down  in  Part  Second,  in  learning  to  dance  he  will  only  need 
to  add  artistic  forms  and  to  reduce  to  formulas  what  he  has 
already  learned. 

The  most  excellent  practices  are  : — 

For  the  Arms. —  Facility  in  the  carriage  and  movement  of  the 
arms,  avoiding  everything  forced  and  exaggerated  and  all  angles 
and  sprawling,  acquiring  the  ability  to  pass  from  one  position  to 
another  in  rounded  and  swaying  lines  (Hogarthian  line  of 
beauty),  is  called  in  dancing  Xk\.t  port  de  bras. 

We  divide  the  port  de  bras  into  the  lower  (Fig.  XXVII.,  4,  4) 
and  into  the  higher  (Fig.  XXVII.,  3.)  Under  the  first  head  we 
include  all  movements  that  take  place  below,  or  horizontal  to,  the 
shoulders,  either  before,  or  sideward  to,  them;  under  the  second 
head,  movements  above  the  shoulders,  forward  or  sideward. 
Hence  the  first,  second  and  third  position  {a)  form  the  lower 
port  de  bras,  while  the  third  position  (b)  alone  forms  the  higher. 
In  society  dances  only  the  lower /^r/  de  bras  appears;  the  higher 
only  in  artistic  and  national  dances.  In  artistic  dances  it  is  to  be 
especially  cultivated,  inasmuch  as  the  greatest  readiness  in  the 
use  of  the  legs  loses  its  effect  through  a  bad  port  de  bras. 

The  practice  for  the  lower  port  de  bras  is  :  Fifth  position  of 
the  feet,  first  position  of  the  arms.  After  lifting  the  arms  in  the 
way  prescribed  in  Part  II.  to  the  region  of  the  shoulders,  they 
are  allowed  to  fall  lightly  and  gracefully  into  the  second  position. 
(Fig.  XXVII. ,  4,  4.)  They  remain  a  while  in  this  position,  then 
make  a  change  of  feet  (see  elementary  dancing  step),  and  pass 
slowly  back  to  the  first  position.  (Fig.  XX VII.,  4,  5,  6,  and  i.) 
Then  the  same  is  done  with  each  arm. 

The  gymnastic  practice  of  Part  II.  leads  us  to  the  high/^;Y  de 
bras.  In  order  to  acquire  the  requisite  skill  and  rotmdiiess  for 
this,  one  holds  the  arms  extended  over  the  head  (Fig.  XXVIL, 
3)  for  some  time,  then  marches,  according  to  the  rules  for  walk- 


DANCING.  145 

ing,  several  times  to  and  fro,  and  then  resumes  the  normal  posi- 
tion. 

We  here  call  attention  once  more  to  the  remarks  in  Physical 
Gymnastics  (Part  II.),  exactly  prescribing  the  carriage  of  the 
arms  and  hands.  An  easy  carriage  of  the  hands  is  here  indis- 
pensable. 

The  port  de  bras  is  also  practiced  in  every  one  of  the  five  fun- 
damental positions,  and  makes  with  the  third  and  fifth  a  change- 
ment  de  pieds. 

We  again  repeat  that  the  pupil  cannot  often  enough  practice 
\h^  port  de  bras ^  for  this  forms  the  basis  of  all  arm  movements. 
(Fig.  XXXII.) 

For  the  Feet.  —  In  Physical  Gymnastics  we  learned  the  upward 
and  downward  tension  of  the  foot-joint,  and  there  is  nothing 
further  to  add  save  that  it  must  here  be  still  more  light  and 
pleasing. 

Bending  and  stretching  the  knee  is  practiced  in  all  the  five  fun- 
damental positions,  and  always  in  such  a  way  that  the  outward 
turned  knee  forms  a  direct  line  with  the  toes.  In  passing  from 
bending  to  stretching  the  heel  is  lifted  somewhat  to  throw  the 
centre  of  gravity  wholly  upon  the  toes.  The  exercises  given  in 
Part  II.  have  prepared  us  to  execute  this  bending  and  stretching 
with  ease. 

Under  the  term  battements  we  understand  the  striking  move- 
ments of  the  legs  ;  two  wholly  opposite  movements  making  one 
battement.  They  are  divided  into  small  and  great.  To  practice 
them  correctly,  one  grasps  some  fixed  object  with  one  hand  (per- 
haps it  is  a  bar  at  the  height  of  the  hips,  and  made  fast  to  the 
wall,  or  the  back  of  a  chair,  with  the  seat  turned  to  the  wall),  and 
performs  the  practice  with  the  opposite  leg,  until  he  can  carry  it 
through  standing  without  support. 

Fetits  Battements.  —  Position  :  Second  position,  one  foot  sus- 
pended, with  the  toes  indicating  the  second  position,  the  other 
firmly  sustaining  the  body.     At  a  two  tempo,  the  suspended  foot 
10 


146  ESTHETIC   PHYSICAL    CULTURE. 

with  bended  knee  strikes  into  the  fifth  position  before  or  behind 
the  standing  foot,  and  by  quick,  energetic  stretching,  back  into 
the  second  position,  still  suspended.  The  heel  must  be  strongly- 
pressed  forward,  the  knee  outward. 

Grands  Batte77ients.  —  While  the  small  battements  are  executed 
only  sideward,  the  great  ones  are  in  a  threefold  way  :  forward, 
backward,  and  sideward. 

Forward  battement :  The  foot  standing  forward  in  the  fifth 
position,  strikes  energetically  forward,  with  stretched  (tense)  knee 
as  high  as  possible,  and  immediately  falls  back  into  the  fifth  posi- 
tion. It  may  be  remarked  here  that,  in  raising  the  foot,  the  toe 
leaves  the  floor  last ;  in  setting  it  down,  touches  the  floor  first. 

Backward  :  Like  the  forward,  only  that  the  movement  is  made 
with  the  hindmost  foot.  This  battement,  on  account  of  the  struc- 
ture of  the  body,  can  be  executed  only  in  a  limited  way.  Still, 
by  early  practice,  a  considerable  height  may  be  reached. 

Sideward  :  Like  the  forward,  with  the  arms  held  in  the  second 
position. 

Ronds  dejambe  are  of  two  sorts  —  inner  and  outer.  The  sus- 
pended foot  held  in  the  second  position,  passes  the  standing  foot 
in  a  circle,  from  back  to  front,  or  vice  versa,  so  that  at  the  outer 
part  of  the  circle  the  toes  alone  lightly  touch  the  floor,  while  the 
heel  also  does  the  same  near  the  standing  foot.  Of  course,  this 
can  happen  only  through  the  active  aid  of  the  foot-joint. 

For  the  Upper  Body.  —  We  have  treated  of  turning  upon  the 
hips  in  Part  IL  as  "  Turning  the  Torso."  We  only  add  here  that 
this  must  be  practiced  in  all  five  positions.  In  the  first  and. 
fourth  positions  of  the  feet,  the  hands  are  planted  at  the  hips  ;  in 
the  second,  third,  and  fifth,  the  arms  assume  the  second  position 
(Fig.  XXVII.,  4,  4). 

For  the  Whole  Body.  —  The  easy  and  graceful  transition  of 
the  centre  of  gravity  from  one  foot  to  the  other,  is  called  diseji- 
gaging.  It  appears  especially  in  the  two  open  positions,  the  sec- 
ond and  fourth.     It  is  to  be  remarked  that  if  a  disengagement 


DANCING.  147 

takes  place  in  the  fourth  position,  in  which  case  the  centre 
of  gravity  will  be  transferred  from  the  backward  to  the  forward 
foot,  the  former  touches  the  floor  only  with  the  great  toe,  and  as 
the  centre  of  gravity  passes  from  the  forward  to  the  backward 
foot,  the  latter  (the  forward  foot)  touches  the  floor  with  the  little  toe. 
In  our  walking  backward,  in  Part  I.,  we  have  prepared  for  this 
movement,  and  have  only  to  observe  greater  exactness  in  respect 
to  the  toes. 

6.  Single  Movements  of  the  Feet  Through  Which  the  Dancing  Steps 
are  Rendered  Possible. 

The  Walking  Step.  —  If,  in  passing  forward,  backward  or  side- 
ways, one  transfers  the  centre  of  gravity  from  one  foot  to  the 
other,  he  has  taken  a  step.  The  soldier's  "  halt "  is,  therefore, 
only  a  downward  drawing  or  "  fastening  "  of  the  foot  after  the 
last  step. 

The  walking  step  of  the  dance  is  executed  in  the  following 
manner  :  After  a  slight  bending  of  both  knees,  one  foot  rises,  the 
heel  first,  and  passes  into  the  fourth  or  second  position,  resting 
upon  the  toes  ;  and  while  the  centre  of  gravity  is  transferred  to 
this,  the  heel  lightly  falls  downward.  This  is  the  step  already 
referred  to  in  walking  upon  the  stage. 

Besides  this  simple,  common  step,  there  are  five  others  which 
form  the  transition  to  the  dance.     Klemm  names  them  as  follows  : 

Les pas  balances,  the  swaying,  rocking  step  forward  and  back- 
ward. 

Les  pas  siir  les  poi7ites,  upon  the  toes  forward  and  backward. 

Les  pas  eleves,  the  lifted,  skipping  step. 

Les  pas  satctes,  springing  forward  and  backward. 

Les  pas  soiitenus,  slipping,  continuous  steps  forward  and  back- 
ward. 

7.  Elementary  Dancing  Steps. 

The  changemeiit  de  pieds  (changing  of  the  feet)  is  a  spring  in 
one  tetnpo,  as  a  rule,  into  the  third  or  fifth  position.    Its  execution 


148  ESTHETIC   PHYSICAL   CULTURE. 

in  the  third  and  fifth  positions  happens  in  the  following  way  :  a 
slight  bending  of  both  knees,  then  a  swing  of  both  feet  more  or 
less  high,  and  a  passing  to  the  original  position,  with  a  change 
of  feet. 

If,  through  much  practice,  the  foot-joint  and  the  toes  have  at- 
tained great  elasticity,  this  change  of  feet  may  take  place  without 
lifting  the  toes  from  the  floor. 

The  assemble  is  the  uniting  of  both  feet  from  an  open  to  a 
*closed  position  in   one  tempo.     Its  main  condition  is  that  the 
standing  foot  should  always,  after  bending  the  knees,  swing  up- 
ward and  be  set  upon  the  floor  directly  with  the  other. 

The  glissade  is  a  dancing  step  composed  of  two  others,  the 
second  of  which  receives  the  most  accent,  and  the  first,  as  a  rule, 
begins  in  advance  of  a  bar. 

The  glissade  is,  for  the  most  part,  executed  from  right  to  left, 
but  it  can,  like  all  elementary  steps,  be  executed  in  all  directions. 
Its  manner  of  execution  is  as  follows  : 

Both  knees  being  bent  slightly,  the  right  foot  sways  over  into 
the  second  position,  as  if  it  would  step  over  some  object,  rests 
there  upon  the  toes,  and  draws  the  other  foot  after  it  into  the  fifth 
position,  while  it  (the  right)  lets  itself  down  on  its  heel.  The 
left  foot  that  slips  after,  can  only  be  brought  before  or  behind 
the  right  one,  into  the  fifth  position. 

TheyV//,  a  step  similar  to  running  and  springing,  is  the  upward 
swing  of  one  foot  of  a  closed  position,  while  the  other,  passing 
into  one  of  the  two  open  positions,  falls  back  directly  into  the 
closed  position  in  one  tempo. 

(Let  it  be  remarked  here,  that  in  all  practice  in  the  third, 
fourth  and  fifth  positions,  the  right  foot  is  always  supposed  to  be 
forward.) 

Execution  :  Fifth  position,  during  the  slight  bending  of  both 
knees,  the  left  foot,  throwing  itself  sideways  and  swaying  into  the 
second  position,  falls  immediately  into  the  fifth   position  before 


DANCING.  149 

the  right  foot,  while  this  one,  swaying  behind  the  left  foot,  re- 
mains in  the  fifth  position. 

The  chasse  IS  the  chasing  of  the  one  foot  of  an  open  position 
by  the  other  into  an  again  open  position  in  two  tetfipi,  and 
is  thus  executed  :  Fourth  position,  centre  of  gravity  upon 
the  left  foot.  While  the  centre  of  gravity  is  lightly  and  grace- 
fully transferred  to  the  right  foot,  and  the  left,  after  a  slight 
bending  and  consequent  light  up-swinging  of  both  feet,  is  thrown 
back  into  the  third  position,  the  right  foot  again  passes  forward 
into  the  fourth  position.  The  setting  downward  of  the  left  foot 
happens  at  the  first,  the  setting  forward  of  the  right  foot  at  the 
second  tempo.  In  several  successive  chasses^  an  exchange  of  the 
feet  naturally  takes  place. 

In  the  backward  chasse\  if  the  centre  of  gravity  is  on  the  for- 
ward foot,  it  will  pass  over  to  the  hindmost  one,  and  chase  this 
from  its  place,  which  then  becomes  the  foremost.  In  the  side- 
ward chasse\  the  foot  to  be  chassed  must  stand  in  the  second  po- 
sition. 

The  temps  de  cuisse  is  a  movement  in  two  tempi  from  a  closed 
position  into  an  up-swinging  one,  with  the  two  feet  falling  back 
upon  one  foot,  so  that  the  one  foot  is  held  upward  in  the  second 
or  fourth  position,  and  then  falls  forward  or  backward  into  the 
fifth. 

Execution  :  Second  position,  the  centre  of  gravity  upon  the 
right  foot,  the  left  suspended  and  tense.  While  the  right  foot 
bends  slightly,  the  left,  with  the  powerful  aid  of  the  upper  leg, 
strikes  forcibly  backward  with  the  toes  into  the  second  position 
(upon  the  floor);  but  in  a  moment  rises  again  and  passes,  while 
the  right,  in  a  slight  up-swinging  and  with  a  short  step,  springs 
to  the  right,  into  the  third  or  fifth  position,  before  or  behind  the 
right  foot.  A  sideward  temps  de  cuisse  must  always  be  preceded 
by  dijete,  and  is  then  called  zephyr  step — -  i^pas  de  zephire). 

Tht  pas  de  bourree  is  a  step  with  three  movements.  Execu- 
tion :  Fifth  position,  the  right  foot  rises,  with  a  slight  bending 


k 


I50  ESTHETIC   PHYSICAL   CULTURE. 

of  the  left  knee,  suspended  in  the  second  position,  falls  backward 
into  the  fifth  position,  raising  itself  with  stretched  knees  and 
upon  both  toes,  then  drawing  the  left  into  the  second,  and  the 
right  into  the  fifth  position. 

All  these  steps  may  be  executed  forward,  backward,  sideward, 
in  turning,  walking,  slipping  and  springing,  simple,  double,  three, 
four,  and  manifold  tempo  (as  often  as  possible),  and  form,  in  this 
way,  the  art  of  dancing. 

8.  Composite  Independent  Steps. 

Besides  these  seven  fundamental  steps,  a  knowledge  of  two 
others  is  necessary  —  the  echappe  and  the/^i-  de  basque. 

The  echappe  is  really  a  fundamental  step,  but  as  several  echappes 
in  succession  may  be  formed  only  if  an  assemble  takes  place  be- 
tween any  two,  we  call  it  a  composite  independent,  but  not  a 
fundamental  step.  It  is  the  simultaneous  up-swinging  of  both 
feet  out  of  a  closed  position  into  an  open,  upon  one  tefnpo.  Its 
execution  is  as  follows  :  For  example,  Fifth  position,  after  the 
preparatory  bending  (bowing),  both  feet  swing  upward  from  the 
floor,  and  fall  into  an  open  position. 

Tho,  pas  de  basque  is  composed  of  two  steps  and  a  closing  one, 
to  be  executed  in  two  tempi.  It  can  be  executed  in  all  direc- 
tions. The  forward  execution  requires  the  fifth  position.  In 
advance  of  the  bar,  bending  of  both  knees,  and  throwing  the 
right  foot  into  the  fourth  position  ;  hereupon  the  left  foot  passes 
lightly  and  gracefully,  both  knees  again  being  stretched,  past  the 
right  foot  into  the  fourth  position,  assumes  the  centre  of  gravity, 
and  immediately  the  right  foot  closes  into  the  fifth  position,  and 
dipas  de  basque  is  ended.  If  several  succeed  one  another,  the  left 
foot  must  naturally  be  placed  into  the  fourth  position. 

Backward.  —  The  same  steps,  only  in  the  opposite  movement. 
The  left  foot,  standing  behind  in  the  fifth  position,  begins,  while 
it  falls  into  the  fourth  position  ;  the  right  goes  backward  past 
this  into  the  fourth  position,  and  the  left  immediately  closes  into 
the  fifth  position  before  the  right  foot. 


DANCING.  151 

All  other  steps  occurring  in  the  art  of  dancing  are  variations 
of  these  seven  fundamental  steps.  To  explain  them  is  foreign  to 
the  purpose  of  our  book. 

p.    The  Minuet  as  a  School  for  Compliments. 

The  minuet  is  a  dance  of  two  persons,  moving  in  slow,  digni- 
fied, walking  steps.  It  is  of  French  origin,  was  carried  to  the 
highest  perfection  under  Louis  XIV.  and  Louis  XV.,  and  has 
now  entirely  vanished  from  the  array  of  society  dances. 

In  the  last  century,  a  knowledge  of  the  minuet  was  indispen- 
sable for  every  cultivated  person.  All  movements  of  the  body, 
especially  those  of  the  feet  and  arms,  required  at  court  or  in 
polite  assemblies,  consisted  in  those  of  the  minuet.  Every  cere- 
monial bow  must  be  the  ^'  reverence  "  of  the  minuet.  It  was, 
therefore,  the  school  of  fine  manners. 

It  cannot  be  denied  that  the  product  of  this  school  was  an  ex- 
aggerated etiquette  —  even  a  painful  stiffness  —  which,  thank 
heaven  !  has  vanished  from  the  circles  of  the  present  day  ;  but, 
on  the  other  hand,  it  cannot  be  denied  that,  for  this  very  reason, 
outward  decorum  has  suffered. 

If  we  would  learn  the  manners  of  good  society  in  modern  days, 
we  can  do  no  better  than  to  learn  them  through  the  minuet ;  for 
this  still  forms,  and  always  will,  the  basis  of  all  tournure. 

To  describe  the  minuet  in  its  infinite,  various  forms,  would  be 
against  the  purpose  of  our  book.  We  have  here  to  treat  only  of 
a  part  of  it,  that  which  preceded  every  minuet,  the  "reverence." 

10.   Compliment —  Reverence. 

A  salutation  without  words,  that  is,  a  mere  more  or  less  profound 
bowing  of  the  body,  is  called  a  <:<?;;////>^^/^/.  The  second  signifi- 
cation of  the  compliment,  to  say  a  polite  or  pleasant  thing  to 
some  one,  does  not  come  within  our  province. 

We  make  this  distinction  of  dates  :  The  compliment  (saluta- 
tion) of  ancient  times,  the  compliment  of  the  middle  ages,  the 


152  ESTHETIC   PHYSICAL   CULTURE. 

compliment  of  the  seventeenth  and  eighteenth  centuries,  and  the 
modern  compliment. 

The  Co77ipliment  of  Ancient  Ti7nes.  —  This  had  two  degrees  : 
(i)  the  friendly  greeting  ;  and  (2)  the  ceremonial  (polite)  greet- 
ing, the  sign  of  high  respect  and  reverence.  The  first  degree 
was  shown  by  a  slight  step  forward,  the  head  being  somewhat 
bowed,  and  the  inclination  of  the  body  but  slight.  Here  one 
arm,  with  the  palm  of  the  hand  upward,  approaches  the  object, 
while  the  other  remains  passive,  or  is  placed  in  protestation  (of 
regard)  upon  the  breast.  This  was  the  friendly  greeting  of  an- 
cient times,  as  represented  in  bas  reliefs.  If  this  were  trans- 
formed into  a  polite  (or  ceremonial)  greeting,  the  head  of  the 
woman  bowed  more  deeply  than  that  of  the  man  ;  the  greeting 
arm  was  more  outstretched,  and  the  knees  bowed  more  deeply. 
With  a  man  the  head  remained  more  erect,  the  neck  more  stretched 
forward,  the  glance  fixed  upon  the  highly  respected  object,  and 
the  knee  of  the  backward  leg  bent  more  than  the  forward  one. 

The  Mediceval  Co7nplinient.  —  This  consisted  in  bending  the 
knee,  and  had  three  degrees  : 

(i)  An  entire  falling  upon  the  knees,  as  the  highest  degree  of 
reverence  and  salutation  (Fig.  LXVIII.).  (2)  The  bending  of  the 
one  knee  (Fig.  LXIX.).  It  is  thus  executed  :  One  walks  forward 
sideways,  with  one  foot  or  the  other  (here  in  Fig.  LXIX.,  with 
the  right),  assuming  the  centre  of  gravity,  and  while  with  the  other 
foot  (here  in  Fig.  LXIX.,  the  left)  he  goes  in  a  line  slightly  bent 
outward  to  the  designated  point,  the  inclination  takes  place. 
(3)  The  mere  bowing  of  the  body  with  one  foot  set  back  upon 
the  toes  (as  in  Fig.  LXX.). 

In  all  three  gradations,  we  find  the  same  movement  of  the 
right  hand,  the  laying  it  upon  the  breast ;  but  in  an  entire  falling 
upon  the  knees  in  passion,  the  right  hand  is  outstretched  to  the 
one  saluted,  in  token  of  the  fullest  reverence  and  veneration,  as 
the  sign  of  unconditional  submission.  (See  Fig.  LXVIII.)  Still 
this  is  not  indispensably  necessary  ;  the    hand   may  lie   as   in 


DANCING. 


153 


Fig.  LXVIII. 

Fig.  LXIX.  For  position  of  fingers  of  the  right  hand,  we  refer 
to  Fig.  XXXIX. 

The  lady  has  just  the  same  to  do.  A  modern  compliment 
would  be  entirely  wrong. 

After  this  brief  description  of  the  mediaeval  compliment,  it 
must  occur  to  every  one  how  senseless  it  is,  when  we  see  upon 
the  stage,  a  mailed  knight,  a  true  mediaeval  figure,  pay  the  mod- 
ern compliment,  or  a  castle  lady  execute  the  reverence  of  the 
rococo  age.  Thus,  for  instance,  in  "  Don  Carlos,"  and  similar 
pieces,  no  compliment  must  be  made,  but  falling  on  the  knees, 
according  to  the  necessary  gradations. 

The  Compliment  of  the  Seventeenth  and  Eighteenth  Centui'ies  (in 
France,  the  Regime  of  Louis  XIV.,  XV.,  and  XVI.).  —  In  this 
age  we  find  the  compliment  in  its  highest  cultivation  ;  it  preceded 
every  minuet,  and  had  two  gradations  : 

(i)  The  Great  Reverence. 


154 


ESTHETIC   PHYSICAL   CULTURE. 


Fig.  LXIX. 

(2)  The  Little  Reverence. 

The  execution  (strictly  in  time,  even  if  no  music  was  at  hand) 
demanded  twice  as  much  time  in  the  first  degree  as  the  last. 

The  Great  Reverence  for  Gentlemen.  —  The  right  or  left  foot 
(the  right  in  the  minuet)  passes,  after  a  slight  bending  of  both 
knees  in  advance  of  the  bar,  into  the  second  position,  taking  up 
the  centre  of  gravity.  The  other  (in  the  minuet,  the  left)  foot 
will  be  slowly  drawn  over  into  the  first  position,  while  the  body 
bends  forward.  During  these  times,  the  right  hand  of  the  gen- 
tleman (if  it  does  not  hold  the  hand  of  the  lady)  grasps  the 
hat  resting  under  the  left  arm,  and  passes  into  the  movement  of 
salutation,  to  the  right  side.  (Fig.  LXXI.)  Now  follows  the 
return  of  the  body  to  its  erect  posture,  while  the  left  foot,  after 
a  slight  bending  and  stretching  of  both  knees,  takes  a  step  back- 
ward into  the  fourth  position  upon  the  toes,  and  then  upon  the 
heel,  assuming  the  centre  of  gravity,  and  the  right  hand  has  car- 


DANCING. 


155 


Fig.  LXX, 


ried  the  hat  back,  under  the  left  arm,  to  its  former  place. 
(Fig.  LXXII.)  Then  the  foot,  standing  forward  in  the  fourth  posi- 
tion, is  again  drawn  over  into  the  third  position,  and  the  right 
hand  is  again  brought  to  the  right  side. 

In  the  minuet,  if  the  gentleman  holds  the  lady  with  his  right 
hand,  the  hat  naturally  remains  quietly  under  the  left  arm. 

The  bowing  itself  must  take  place  in  the  following  way  :  The 
head  inclines  forward  and  draws  the  shoulders  slowly  after  it  ; 
but  if  the  bowing  takes  place  from  the  waist,  the  upper  and  lower 
body  forms  an  obtuse  angle,  which  must  not  happen,  as  it  is  always 
the  sign  of  awkwardness.  In  again  rising  erect,  head  and  glance 
give  the  impulse. 

Before  princes,  and  in  the  presence  of  persons  of  high  rank, 


156 


ESTHETIC   PHYSICAL   CULTURE. 


Fig.  LXXI. 

the  bow  is  more  significant  ;  still  it  must  not  be  supposed  that 
greater  reverence  is  expressed  by  too  profound  bowing.  A 
slower  inclination,  with  a  slower  drawing  on  of  the  foot,  and  a  like 
slowness  in  resuming  the  erect  attitude,  is  the  sign  of  great 
respect. 

The  Great  Reverence  for  Ladies.  —  This,  always  begun  in  the 
third  position,  is  a  deep  bending  of  both  knees,  with  erect  upper 
body  (the  characteristic  of  this  compliment),  a  stepping  back- 
ward upon  one  foot,  and  resuming  the  erect  attitude. 

It  is  thus  executed  :  After  a  slight  bending  and  stretching  of 
both  knees,  the  right  or  left  foot  (in  the  minuet,  the  right)  passes 


DANCING. 


157 


Fig.  LXXII. 

into  the  second  position,  assuming  the  centre  of  gravity,  while  the 
other  is  drawn  over  into  the  third  position  ;  then  deep  bending, 
the  upper  body  held  erect  (Fig.  LXXIII.);  then  stepping  back 
upon  one  or  the  other  foot  (in  the  first  reverence  of  the  niinuet 
upon  the  right),  during  which  a  slight  inclination  of  the  body 
takes  place,  and  which  already  nappens  in  rising  (Fig.  LXXIII.,  a) 
and  a  drawing  on  of  the  forward  standing  foot  into  the  third 
position.     (Fig.  LXXIII.,  d.) 


158 


^ESTHETIC   PHYSICAL   CULTURi^. 


Fig.  LXXIIL 

The  index  finger  and  thumb  hold,  meantime,  both  sides  of  the 
dress,  drawing  it  gracefully  away  from  the  body  ;  in  the  minuet, 
only  the  right  hand  holds  the  dress,  while  the  left  is  reached  to 
the  gentleman.  The  manner  of  holding  the  fan  is  shown  in 
Fig.  LXXIIL 

The  deeper  and  slower  the  bowing,  the  greater  the  respect. 

To  make  the  ladies'  reverence  in  such  a  way  that,  in  bowing, 
the  upper  part  of  the  body  bends  forward,  is  especially  false. 

If  the  lady  stands  in  an  open  position,  she  must  first  step  into  a 
closed  (the  third),  and  then  the  reverence  begins. 

The  Little  Reverence  for  Gentlemen.  —  The  right  or  left  foot 
(without  a  previous  bending  and  extension  of  both  knees)  passes 
into  the  second  position  upon  the  toes,  then  upon  the  heel,  as- 
suming the  centre  of  gravity.  Then  the  other  foot  will  be  drawn 
into  the  first  position,  while  the  bowing  itself  takes  place. 


DANCING. 


159 


Fig.  LXXIII.  a. 


The  Little  Reverence  fo?^  Ladies.  —  Like  the  great  reverence, 
only  without  the  slight  bending  and  stretching  of  both  knees,  and 
the  consequent  steps  sideward,  beginning  in  the  closed  position, 
with  the  deep  bow,  the  upper  body  being  held  erect,  and  stepping 
back  on  one  foot  or  the  other,  etc. 

The  Little  Reverence  (sideway).  —  For  gentlemen,  this  is  like  the 
great  reverence,  only  with  the  difference  that,  at  the  outset,  the 
foot  to  be  set  into  the  second  position  is  here  (while  turning  the 
body)  placed  sideward-backward  upon  the  toes,  then  upon  the 
heel,  assuming  the  centre  of  gravity  ;  by  drawing  on  the  other 
foot  and  bowing,  the  compliment  is  executed. 


i6o 


ESTHETIC   PHYSICAL   CULTURE. 


Fig.  LXXIII.  b. 

If  ladies  have  to  make  the  Httle  reverence  sideward,  the  prepar- 
atory step  must  like  wise  be  taken  sideward-backward,  with  a 
turning  of  the  body  ;  thus  the  other  foot  will  be  drawn  into  the 
closed  position,  and  the  low  bowing,  etc.,  follow. 

These  are  the  main  compliments  before  one  person.  If  several 
are  to  be  greeted,  little  changes  enter,  which,  with  gentlemen  and 
ladies,  are  as  follows  : 

Reverence  before  Several  Persons  Standing  in  a  Half -Circle. — 
The  simple  reverence:  The  drawing  forward  of  the  foot  and  hew- 
ing  in  gentlemen,  the  bending  and  setting  back  of  the  foot  in 


DANCING.  l6l 

ladies,  must  take  place  more  slowly,  while  glance  and  body,  which, 
at  the  beginning  of  the  reverence,  are  fixed  upon  the  first  person, 
while  the  bow  takes  place,  turn  slowly  ahd  in  a  dignified  manner 
to  the  last  person  of  the  semi-circle,  where  the  bow  ends,  the  up- 
right position  being  resumed  by  a  slight  turning  back  to  the 
middle  of  the  semi-circle. 

In  glancing  from  left  to  right  in  the  semi-circle,  with  gentle- 
men, the  left  foot  must  step  into  the  second  position,  and  the 
right  be  drawn  after  it ;  with  ladies,  after  bowing,  the  right  foot 
must  be  set  back.  In  glancing  from  the  right  to  the  left,  the 
order  is  reversed. 

The  double  reverence  :  If  two  compliments  are  to  be  made  in 
succession  (the  one  to  the  right,  the  other  to  the  left),  a  turning 
of  the  body  upon  the  ball  of  the  foot  must  take  place  between 
those  to  whom  the  bower  turns.  Naturally  with  gentlemen,  at 
the  beginning  of  the  second  compliment,  the  foot  nearest  the  side 
takes  the  second  position,  and  with  ladies,  if,  at  the  first  compli- 
ment, the  left  foot  had  stepped  back,  now,  after  bowing,  the  right 
foot  steps  back. 

The  Little  Reverence  upon  Arrival.  —  This  is  like  the  main  com- 
pliment. The  gentleman  has  only  to  observe  that  the  last  step 
in  arrival  is  somewhat  slower  and  sideway-forward,  instead  of 
forward  ;  it  will  serve  as  the  first  step  of  the  beginning  compli- 
ment, upon  which  the  drawing  forward  of  the  other  foot,  and  the 
bow  itself,  follow. 

The  lady  walks  to  the  point  where  she  has  to  make  the  com- 
pliment in  the  third  position,  and  immediately  begins  the  compli- 
ment with  a  bow.  If  the  great  reverence  is  to  be  made  upon 
arrival,  the  lady  and  gentleman  pass  in  a  direct  line  to  the  place 
where  it  is  to  be  executed. 

The  Little  Reverence,  at  Departure,  for  Gentlemen.  —  The  com- 
pliment itself  is  like  the  main  compliment,  only  it  is  preceded  by 
one  step  backward,  while  the  second,  instead  of  following  in  a 
direct  line,  passes  sideward -backward  into  the  fourth  position  ; 
II 


l62  ESTHETIC   PHYSICAL   CULTURE. 

now,  as  in  the  main  compliment,  follow  the  drawing  on  of 
the  other  foot,  and  the  bowing.  The  third  step  now  succeeding 
may  (if  the  space  is  large  enough)  take  place  upon  a  direct 
line  backward,  without  turning.  If  this  is  not  the  case,  it  is  made 
with  turning  toward  the  exit ;  not  a  full,  but  a  half  turn,  and  now 
follow,  as  space  allows,  one  or  two  steps  to  complete  the  turn. 

The  great  reverence  is  likewise  preceded  by  one  step  back- 
ward, followed  by  a  drawing  on  of  the  foremost  foot  into 
the  first  position,  and  at  once  begin  the  slight  "bending  and 
stretching  "  of  both  knees,  the  sideward  stepping  into  the  second 
position,  etc. 

The  Little  Reverence^  at  Departure^  for  Ladies.  —  This  likewise 
demands  a  step  backward,  and  a  drawing  of  the  foremost  foot 
again  into  the  third  position.  Now  begins  the  deep  bending 
without  stepping  sideward,  then  stepping  back,  etc.  The  great 
reverence  is  made  with  stepping  sideward. 

After  the  compliment,  there  is  likewise  one  step  backward, 
which  is  the  continuation  of  the  drawing  back  of  the  foremost 
foot,  which  has  at  once  passed  by  the  standing  foot  back  into 
the  fourth  position.     The  turning  is  as  with  gentlemen. 

These  are  the  compliments  which  all,  more  or  less,  are  to  be 
executed  like  the  main  compliment.  Whether  the  great  or  little 
reverence  is  to  be  made,  depends  always  upon  the  person  to  be 
saluted  as  well  as  upon  the  situation.  Exalted  persons,  grave 
situations,  demand  the  great  reverence. 

Reverence  at  Meeting  in  Walking.  —  For  Gentlemen  and 
Ladies.  —  Before  one  person:  The  head  and  upper  body  are 
slightly  turned  toward  the  person  to  be  greeted,  while  the  walk 
becomes  slower,  but  does  not  cease  ;  while  the  foot  upon  this 
side  slides  a  little  out  of  the  direct  line  of  walking  until  one  is 
past.  In  the  salons  of  the  rococo  time  the  waving  of  the  hand 
with  the  hat,  as  described  in  the  minuet,  followed,  and  removing 
the  hat  when  in  the  open  air. 


DANCING.  163 

Before  a  prince,  one  steps  aside,  halts,  then  *' makes  front," 
and  salutes  him. 

Before  several  persons  :  If  one  walks  past  a  row  of  persons, 
sitting  or  standing,  the  same  rule  will  be  observed  ;  only  with  the 
difference  that  both  feet  pass  into  the  glisse  step,  until  he  is 
past. 

Passing  between  two  rows  :  If  one  passes  between  two  rows, 
he  must,  alternately,  with  the  right  and  left  foot,  execute  the 
glisse  step,  until  he  is  past,  and  at  each  change  of  foot  turn  to 
those  he  would  salute,  as  before  described. 

Reverence  in  Sitting.  —  For  Gentlemen  and  Ladies.  — This  ap- 
pears only  in  the  society  of  friends  and  familiar  acquaintances, 
or  if,  in  sitting  at  table,  something  is  reached  to  us,  and  we  can- 
not rise  ;  also,  when  princes  or  persons  of  high  standing  greet 
those  of  lower  rank.    • 

It  consists  of  a  mere  bending  of  the  upper  part  of  the  body  and 
head,  with  a  corresponding  glance,  the  bow  being  more  or  less 
deep,  according  to  circumstances,  but  not  a  mere  hasty  nod, 
which  is  allowed  only  by  the  highest  degree  of  familiarity. 

Whether  the  actor  has  to  make  the  great  or  little  reverence, 
must  be  left  to  his  own  decision. 

The  Modern  Compliment.  —  Our  time  has  certainly  much  sim- 
plified the  compliment,  but  if  we  lay  any  claim  to  culture,  we 
must  not  go  so  far  as  to  let  a  mere  drawing  together  of  the 
heels,  with  a  slight,  superficial  bow,  pass  as  a  compliment.  Our 
compliment,  both  with  ladies  and  gentlemen,  is  the  little  rever- 
ence of  the  rococo  age  ;  still  with  a  slight  variation.  The  lady  no 
longer  takes  hold  of  her  dress  to  draw  it  aside  somewhat ;  she  no 
longer  bows  so  profoundly,  or  with  an  erect  position  of  the  upper 
part  of  the  body,  but  with  simultaneous  bending  ;  this  principally 
distinguishes  it  from  the  rococo  compliment. 

The  gentleman  lets  his  hands  hang  easily  at  the  side,  accord- 
ing to  the  mere  law  of  gravity.     (Fig.  LXXIV.) 


164 


ESTHETIC   PHYSICAL   CULTURE. 


Fig.  LXXIV. 

This  is  our  main  compliment  of  modern  times.  In  all  other 
respects,  we  observe  to-day  the  precepts  of  the  rococo  age. 

We  must  not  neglect  to  warn  against  that  jerky,  backward 
movement,  which  robs  the  compliment  of  all  significance.  In  the 
age  of  the  minuet,  such  a  warning  would  have  been  superfluous^ 
as  every  cultured  person  had  the  time  in  feeling,  if  not  in  music, 
and  paid  heed  to  it. 

A  slight  pause  must  ensue  between  the  bowing  and  the  rising 
erect  again. 


DANCING.  165 

To  execute  the  modern  gentleman's  compliment,  without 
having  first  stepped  with  one  or  the  other  foot  into  the  second 
position,  that  is,  in  the  first  or  third,  is  altogether  wrong. 

If  the  gentleman  already  stands  in  the  second  position,  he 
passes  with  one  foot  into  the  fourth  position  (using  this  advance 
as  the  preparatory  position  —  for  the  compliment  must  not 
be  made  without  preparation  ;  and  if  the  space  is  limited,  the 
step  must  be  made  shorter),  and  then  draws  the  other  foot  into 
the  first  position. 

If  the  lady  stands  in  the  second  or  fourth  position,  she  draws 
one  foot  past  the  other  into  a  closed  (third)  position,  and  now 
makes  the  bending,  etc. 

If  the  gentleman  stands  in  the  fourth  position,  he  passes  with 
the  foremost  foot  into  the  second  (for  the  sake  of  preparation), 
and  draws  the  other  into  the  first  position. 

The  various  gestures  with  which  a  silent  bowing  can  be 
accompanied,  belong  to  special  mimic  art,  with  a  description  of 
which  our  book  has  nothing  to  do.  Here  let  it  only  be  remarked, 
that  those  hand-movements  so  constantly  recurring  especially 
upon  the  stage,  as  if  one  would  reach  something  to  the  person 
greeted,  are  altogether  inadmissible,  and,  at  most,  may  be  used 
by  persons  of  high  station,  when  they  would  show  a  sort  of 
friendly  condescension  or  good  will  to  those  of  lower  station  ;  or 
if  a  princess  greets  those  around  her,  in  which  case,  she  makes 
the  accompanying  gesture  with  her  fan,  or  merely  with  the  hand. 
It  is  also  allowed  in  familiarity,  but  never  in  a  person  of  lower 
toward  one  of  a  higher  rank. 


PART    FIFTH. 


THE  ART  OF  FENCING. 


^■<^^   OP  THR         - 

(TJlTiyEIlSI'] 

CHAPTER  I.  V^ 


THE  ART  OF  FENCING. 


Among  all  physical  exercises  there  is  none  that  gives  the  body 
so  much  strength  and  skill,  as  well  as  certainty,  and  imparts  to  all 
the  muscles  a  more  equable  movement,  and  so  promotes  health, 
as  the  art  of  fencing.  It  improves  the  manly  form  and  the  ex- 
pression of  tjie  face,  and  awakens  in  the  young  greater  energy 
and  caution  than  they  perhaps  naturally  possess. 

Bayonet,  spear,  and  lance  do  not  belong  to  our  domain  ;  we 
have  to  do  here  only  with  the  sword,  and  indeed  only  with  the 
rapier  (foil). 

THRUST    FENCING. 

To  avoid  all  danger  in  practice,  the  real  sword  is  replaced  by 
the  foil,  the  face  covered  by  a  wire  mask,  the  hands  by  well-lined 
gloves,  and  the  upper  body,  to  which  alone  all  the  strokes  are 
directed,  protected  by  a  stout  jacket,  the  collar  and  right  side  of 
which  are  of  leather.  The  foil  is  a  circular  or  quadrangular 
rod  or  blade  of  pliable,  highly  tempered  steel,  thirty-one  to  thir- 
ty-eight inches  in  length,  blunted  and  covered  with  leather  at 
the  point. 

The  foil  is  divided  into  two  parts,  offensive  and  defensive.  The 
first,  measured  from  the  point  to  the  middle,  is  called  the  ^*weak 
part,"  and  is  the  offensive  part ;  the  second,  measured  from  the 
middle  to  the  handle,  is  called  the  "strong  part,"  and  is  the  de- 
fensive part. 

The  Measure, 

When  two. fencers  stand  opposite  each  other  ready  for  conflict, 
their  distance  apart  is  called  the  measure.  This  is  the  correct 
position  when  the  sword-blades  cross  each  other  in  the  midst. 
The  distance  is  then  so  great  that  by  a  mere   extending  of  the 


170  ESTHETIC   PHYSICAL   CULTURE. 

arm,  each  adversary  only  touches  the  breast  of  the  other  with  the 
point  of  his  foil,  and  could  only  thrust  him  through  by  a  thrust 
with  the  normal  sally. 

If  the  rivals  stand  nearer  each  other,  so  that  a  thrust  might 
take  place  without  the  sally,  or  without  any  other  forward  move- 
ment, the  measure  is  called  shortened ;  and  if  they  stand  so  far 
apart  that  the  thrust  is  possible  only  by  means  of  an  exaggerated 
sally  by  a  rush  or  spring,  the  measure  is  called  extended.  The 
fencers  stand  outside  the  limits  if  the  distance  from  each  other  is 
greater  than  that  last  mentioned. 

The  breast  side  of  the  two  fencers  is  called  the  inner;  the 
back,  the  outer. 

If  one  imagines  a  middle  line  of  the  body  from  the  aggressor 
and  defendant  to  the  feet,  and  the  point  here  where  each  touches 
the  ground  united  to  the  other  by  a  direct  line,  this  line  is  the 
fencing-line^  and  its  vertical  plane  is  the  norvadiX  fencing -plane. 

Place  and  Position. 

The  first  movement  the  beginner  has  to  learn  is  the  funda- 
mental position,  known  as  the  defensive  attitude. 

On  account  of  the  arm  bearing  the  weapon,  this  is  called  the 
central  OT  primary  position,  or  more  plainly,  the  advance.  From 
this  position  arise  all  movements,  aggressive  and  repellent.  This 
attitude  consists  of  two  positions  :  — 

First  Position. 
The  pupil  takes  his  place,  himself  erect  with  extended  knees, 
the  feet  at  right  angles,  heel  to  heel,  the  right  foot,  the  right  side 
and  face  turned  toward  the  teacher.  The  body  must  be  held 
firm  and  erect,  the  arms  hanging  lightly  and  easily  at  the  sides, 
the  left  hand  holding  the  foil  a  few  inches  below  the  handle. 
Then  he  places  the  right  hand  across  the  body,  and  grasps  the 
handle  of  the  foil  as  the  first  movement  (see  Fig.  LXXXL,  i)  ; 
as  the  second  movement,  he  lifts  the  foil,  holding  it  with  both 


FENCING.  171 

hands,  the  hands  separating  as  they  rise  until  the  arms  extend 
outward  above  the  head.  (Fig.  LXXXI.,  2,  3.)  Here  he  pauses 
a  little.     This  is  the  first  defensive  position. 

Our  Physical  Gymnastics  have  taught  the  pupil  to  move  his 
arms  independently  of  the  body,  to  expand  the  chest  and  throw 
back  the  shoulders  ;  a  necessity  in  this  position. 

Second  Position. 
To  assume  the  second  defensive  position,  the  right  arm  with 
the  foil  falls  directly  downward  until  its  elbow  is  raised  a  little 
above  the  waist,  the  lower  arm  and  the  foil  standing  in  an  oblique 
upward  direction,  so  that  the  point  of  the  foil  is  on  a  line  with  the 
outward  eye  of  the  adversary,  or  on  one  between  both  eyes.  The 
hand  meantime  lies  with  the  nails  upward.  In  this  movement  the 
left  arm  must  pass  to  the  left  as  far  as  in  Fig.  LXXV.,  so  that  the 


Fig.  LXXV. 

inner  surface  of  the  hand  with  extended  fingers  lying  close  to 
each  other,  is  turned  toward  the  ear.  At  the  same  time,  the 
right  foot  steps  about  twenty  inches  out  m  the  fencing  line,  and 
so  that  the  knuckles  and  knee  form  a  perpendicular  line,  while 


1/2  ESTHETIC    PHYSICAL   CULTURE. 

the  knee  of  the  left  leg  must  extend  somewhat  beyond  the  toes  of 
this  foot. 

In  like  manner  the  hip  and  shoulder  lines  of  the  torso,  held 
quite  erect  and  resting  upon  the  left  foot,  must  be  exactly  within 
the  fencing-plane,  and  the  head  be  borne  erect.  The  fingers 
must  certainly  hold  the  foil  firmly  but  not  convulsively,  else 
weariness  may  easily  ensue,  and  the  finer  feeling  for  action 
be  lost.  The  index  finger,  somewhat  bent,  is  placed  on  one  side 
of  the  parrying  bar,  but  the  thumb  is  placed  on  its  other  side, 
perpendicularly  with  the  blade,  which  it  still  must  touch. 

These  are  the  two  defensive  positions  which  follow  in  two 
tempi.  In  this  position  the  fencer  receives  and  gives  all  thrusts. 
(Fig.  LXXV.) 

If,  in  fencing,  there  is  a  sudden  transition  from  right  to  left, 
that  is,  a  forward  change  in  defense,  one  throws  quickly  the  weight 
of  his  body  upon  the  foremost  foot,  turns  upon  its  heel,  and  brings 
the  hindmost  foot  and  shoulder  forward  into  the  fencing-plane, 
while,  at  the  same  moment,  he  grasps  the  foil  with  the  left  hand, 
and  immediately  brings  the  arm  into  the  right  position.  If  the 
change  of  the  defense  takes  place  backward,  he  turns  upon  the 
heel  of  the  hindmost  foot. 

Attitude  of  the  Hafid. 

The  two  main  attitudes,  which  the  armed  hand  has  to  take,  are 
CdXX^di  primary  (see  defensive  attitude.  Fig.  LXXV.)  and  secondary. 
The  first  is  that  already  described  in  the  defensive  attitude  ;  the 
latter  is  the  reversed  position  of  the  hand,  the  nails  inward,  and 
so  secure  that  the  hand  at  the  wrist  forms  ^  little  angle   down- 


FiG.    LXXVI. 


FENCING. 


173 


ward,  the  point  of  the  foil  being  turned  downward  as  much  as  it 
is  turned  upward  in  the  primary  position.     (Fig.  LXXVI.) 

Thrusts  are  always  made  in  these  attitudes  ;  for  parades  there 
are  three  other  attitudes  :  (i)  The  third,  in  which,  as  in  the  sec- 
ond, the  nails  are  turned  inward,  but  the  wrist-joint  forms  no 
angle  downward,  but,  as  in  the  first,  remains  with  the  blade  turned 
outward.     (Fig.  LXXVII.)     (2)  The  fourth  is  like  the  first,  only 


Fig.  LXXVII. 
the    hand-joint   forms  a  slight   inner   angle.     (Fig.  LXXVIII.) 


Fig.   LXXVIII. 

(3)  The  fifth,  like  the  fourth,  with  this  difference,  that  the  wrist- 
joint,  as  in  the  second,  forms  a  downward  angle,  and  the  point  of 
the  foil  is  turned  downward.     (Fig.  LXXIX.) 


m^ 


Fig.  LXXIX. 

As  soon  as  the  fencers  enter  the  measure  opposite  each  other, 
they  must  at  once  begin  the  engagement ;    that  is,  they  must 


174  ESTHETIC    PHYSICAL   CULTURE. 

cross  blades  with  edges  close  but  without  any  mutual  pressure, 
and  that  upon  their  inner  side. 

FENCING    MOVEMENTS.  ' 

We  divide  these  into  foot,  arm  and  weapon  movements. 
(Thrust,  parade  and  feint  movements.) 

The  Foot  Movement. 

1.  The  onset-movement  is  a  quick  raising  and  a  decided  setting 
downward  of  the  foremost  foot,  several  times  repeated,  while  the 
centre  of  gravity  rests  entirely  on  the  firmly  placed  hindmost 
foot.  Meantime  the  upper  part  of  the  body  remains  in  perfect 
repose.  More  belonging  to  the  practice  of  fencing  as  a  means 
of  attaining  a  secure  defensive  position,  it  also  appears  in  fenc- 
ing as  a  means  of  irritating  the  adversary  ;  but  it  must  not,  as  in 
practice,  be  a  real  stamping,  but  a  slight  and  not  too  often  re- 
peated movement  executed  only  with  the  toes. 

2.  The  revolution  takes  place  with  a  simultaneous  turning  of  the 
upper  part  of  the  body  upon  the  heel  of  the  hindmost  foot,  and 
a  swaying  of  the  foremost  foot. 

3.  The  sally  takes  place  as  follows:  —  The  foremost  (right) 
foot  takes  a  rapid  step  forward,  the  upper  body  following  unbent 
while  the  hindmost  (left)  foot  remains  firm  but*  extended  in  its 
place.  The  sally  is  the  most  important  movement,  and  very  dif- 
ficult in  execution,  because  a  thrust  is  always  connected  with  it. 
It  is  well  for  pupils  to  practice  it  first  with  the  feet,  the  arms  re- 
maining planted  in  the  hips  ;  and  to  take  later  the  practice  for 
arm-movements,  as  it  will  be  given  in  our  "  Primary  Thrust." 

The  erect  or  return  movement  in  the  defensive  attitude  takes 
place  by  means  of  a  powerful  wrench  of  the  body,  a  decided 
drawing  back  of  the  foremost  and  a  bending  of  the  hindmost 
foot,  with  the  upper  body  erect,  following  immediately  upon  a 
thrust. 

In  this  movement  everything  depends  upon  its  being  performed 
with  ^;/^  stroke,  as  skill  in  resuming  quickly  the  defensive  attitude 


FENCING.  175 

enables  the  fencer  to  parry  in  a  moment  the  thrust  of  his  rival, 
in  case  his  own  attack  has  failed. 

4.  The  step  forward  and  backward  (also  called  the  advance), 
takes  place  while,  without  allowing  the  upper  part  of.  the  body  to 
lose  its  defensive  attitude,  the  right  foot  is  shoved  forward  a 
hand's  breadth,  and  at  the  moment  when  it  touches  the  floor,  lets 
the  left  foot  take  its  place. 

The  step  backward  (also  called  the  retreat)  takes  place  in  a  re- 
versed way,  the  rear  (left)  foot  making  the  first  movement 
toward  the  rear.  The  object  of  these  two  movements  is  to  gain 
ground,  or  to  relinquish  it  without  even  for  a  moment  losing  the 
defensive  attitude.  They  are  also  used  as  feints  to  bring  the 
rival  from  his  place  and  to  deceive  him.  In  practice  they  are 
not  used  often  in  succession  because  when  a  larger  ground  is 
covered   another  step  is  employed  called  the  passade. 

5.  The  passade  takes  place  in  two  tempi.  At  one,  the  hind- 
most (left)  foot  steps  a  hand's  breadth  before  the  foremost 
(right)  foot,  while  this,  turning  upon  its  heel,  turns  the  toes  some- 
what outward,  so  that  both  soles  form  a  right  angle.  At  two, 
the  right  foot,  remaining  exactly  in  the  fencing-line,  moves  for- 
ward a  shoulder's  breadth,  while  the  left,  by  a  slight  turn  upon 
the  ball,  forms  a  rectangle  at  the  jight,  so  that  the  defensive  at- 
titude is  resumed  only  a  step  in  front  of  the  original  place. 

T\\^  passade  march  ensues  when  \y\^  passade  is  executed  several 
times  in  succession.  The  backward /^^-i-^^^  follows  in  like  man- 
ner, only  with  a  reversed  movement  of  the  feet. 

Facility  in  all  these  movements  must  have  been  acquired  by 
practice,  before  passing  on  to  others.  The  pupil  must  not  be- 
come disheartened  at  their  difficulty,  for  they  are  the  foundation 
of  the  art  of  fencing. 

THRUSTS. 

Thrusts  are  primary  and  secondary  ;  and  these  are  again  di- 
vided into  backward  and  forward  (or  feint  thrusts),  double  and 
simultaneous.     If  the  one  attacked  makes  a  thrust  before  the  ag:- 


176  ESTHETIC   PHYSICAL   CULTURE. 

gressor  can  resume  his  defensive  attitude,  it  is  called  an  after- 
thrust.  If  one  of  the  fencers  only  outlines  a  thrust,  but  makes  a 
real  one  immediately  after,  it  is  called  a  forward  (mock  or  feint) 
thrust.  Double  and  simultaneous  thrusts  are  what  their  name 
signifies.  If  one  makes  a  thrust  twice  in  succession  without  re- 
suming the  erect  position  after  the  first,  it  is  called  a  double 
thrust.  Simultaneous  thrusts  are  those  when  both  fencers  strike 
at  once. 

If  the  defender,  by  a  mere  extending  of  his  arm  and  weapon, 
without  a  sally,  lets  the  hotly  advancing  assailant  rush  as  it  were 
upon  his  foil's  point,  this  is  called  an  arret-thrust. 

The  thrust  will  usually  delicately  graze  the  rival  blade,  but 
there  are  circumstances  when  forced  thrusts  occur  in  which  a 
hard-onset  on  the  rival  blade  takes  place  with  a  pressure  of  one's 
own  weapon. 

It  is  customary  for  rivals  to  attack  in  the  right  side  (from 
within),  but  there  are  cases  when  it  is  advisable  to  attack  a  rival 
from  without  (in  the  left). 

Two  men  standing  opposed  to  each  other,  must  observe  at  the 
first  glance,  that  two  points  of  attack  stand  open  to  them  : 
namely,  the  inner  space  of  the  sword  and  the  outer,  and  indeed 
these  only.  But  in  fencing,  these  are  again  divided  into  the 
points  above  and  below  the  hand,  as  well  for  the  outer  line  as  the 
inner  one.  This  gives  four  points  of  onset,  or  to  speak  more 
plainly,  four  unguarded  points  upon  which  the  rival  can  be  at- 
tacked. To  cover  these  four  points,  there  are  four  defensive 
movements,  called  parade  movements,  of  which  we  shall  treat 
later. 

The  Primary  Thrust. 

The  primary  thrust  proceeds  immediately  from  the  guard  atti- 
tude with  sally,  in  the  following  manner  :  The  right  arm,  at  the 
moment  of  the  sally,  is  extended  from  the  height  of  the  shoulder, 
in  a  horizontal  direction,  while  the  point  of  the  foil  is  energeti- 
cally pushed  toward  the  goal.     At  the  same  moment  when  the 


FENCING. 


177 


foremost  (the  right)  foot  steps  forward  and  the  thrusting  move- 
ment begins,  the  left  hand  falls  at  the  left  thigh,  still  a  few  inches 
from  it,  and  the  left  leg  is  extended.  The  foremost  (right)  side, 
shoulder,  knee  and  toes,  forms  a  perpendicular  line,  while  the  left 
side,  from  shoulder  to  foot,  forms  a  straight,  oblique  line.  (Fig. 
LXXX.)  This  thrust  is  applied  to  upper  as  well  as  inner  and 
outer  thrusts. 


Fig.  LXXX. 

We  have  seen  in  the  sally  how  the  erection  to  the  defensive  at- 
titude proceeds  with  the  feet  and  torso  ;  we  have  to  add  in  rela- 
tion to  the  arms  :  The  hindmost  (left)  arm  rises  quickly  to  its 
required  height  in  the  defensive  attitude  ;  the  foremost  (right)  is 
drawn  backward  quickly,  so  that  the  whole  body  again  resumes  its 
defensive  attitude. 

The  pupil  will  do  well  to  divide,  in  exercise,  the  thrust  into 
two  tempi.  At  one,  extending  of  the  arm  ;  at  two,  onset.  In 
practice  both  fall  into  one  tempo. 

The  Secondary   Thrust 
Consists  in  extending  the  arm,  a  turning  of  the  fist  from  the 
primary  to  the  secondary,  and  sally.     This,  in  practice,  again 
12 


178  ESTHETIC   PHYSICAL   CULTURE. 

takes  place  in  two  tempi.  This  thrust  is  applied  in  lower  thrusts 
when  the  one  attacked,  holding  his  fist  too  high,  thereby  leaves 
his  lower  body  unprotected.     (See  second  attitude,  Fig.  LXXVI.) 

The  Parades. 
Simple  Parades. 

We  have  learned,  in  regard  to  the  thrusts,  that  there  are  four 
unprotected  points  at  which  the  fencer  may  be  attacked  ;  to  cover 
these  there  are  four  defensive  movements  called  "  Parades."  As 
the  prime  or  central  attitude  deviates  from  the  normal  one,  above, 
below,  or  sideway,  the  form  of  the  parade  will  vary  ;  and  the 
parades  are  designated  as  second,  third,  fourth  and  fifth.  Third 
and  fourth  protect  against  upper,  second  and  fifth  against  lower, 
third  and  second  against  outward,  fourth  and  fifth  against  inner 
thrusts. 

The  form  of  the  parades  depends  upon  the  attitudes  of  the 
fist,  which  we  have  accurately  described.  The  arm  must  be  ex- 
tended. 

The  parades  must  always  be  executed  firmly  and  decidedly, 
but  never  with  a  sideward-push  of  the  hostile  foil. 

Counter  parades. 

Every  simple  parade  has  its  counter-parade.  The  attitude  of  the 
hand  is  as  in  the  simple  parade,  only  with  this  difference,  that 
the  foil  describes  a  full  circle  ;  that  is,  at  the  "  counter-fourth  " 
the  hand  remains  in  the  fourth  position,  while  the  weapon,  pass- 
ing down  from  the  inside  up  to  the  outside,  reaches  the  place 
whence  it  started. 

All  other  counter-parades  have  the  same  course  ;  if  we  know 
one  we  know  all. 

The  feints,  in  the  narrow  sense  of  the  word,  are  only  decep- 
tive, specious  movements,  by  which  the  two-fold  contest  is  carried 
on  ;  every  fencer  seeks  to  entice  his  opponent  into  an  uncovered 
position,  prepares,  modulates  and  delivers  his  thrusts. 


FENCING.  179 

The  following  movements  are  to  be  designated  and  elucidated 
as  feints  : 

1.  Tht  d^gagement  ox  d^gage, 

2.  The  double, 

3.  The  coup^. 

I.    The  Degagement. 

In  this  attack  the  foil-point  of  the  aggressor  sinks  under  the 
blade  of  his  rival,  and  passing  close  under  it,  rises  on  the  oppo- 
site side  ;  at  the  same  moment  his  arm  is  extended  and  the  thrust 
made.  If  the  thrust  is  not  made,  if  the  foil-point  passes  at  once 
back  the  same  way  to  its  original  position,  this  is  called  the 
double-dSgage. 

The  degagement,  simple  as  well  as  double,  is  very  often  em- 
ployed, especially  in  the  beginning  of  fencing,  to  bother  the  rival 
and  entice  his  weapon  from  the  right  position. 

2.  The  Double 

Is  very  simple  in  its  application,  but  endlessly  effective.  It 
differs  f roKn  the  double  degagd  in  this  respect  :  the  latter  is  only 
a  to-and-fro  ddgage,  while  the  former  goes  on  to  complete  an  en- 
tire circle.  But  this  is  to  be  done  only  when  the  defendant,  after 
the  first  degagement,  follows  in  the  same  direction.  If  this  hap- 
pens many  times,  a  circling  of  blades  round  each  other  takes 
place  until  a.  thrust  follows. 

3.  The  Coupe. 

Differs  from  the  degage  in  this  way  :  The  aggressor,  instead  of 
thrusting  his  foil  from  the  inside  out  under  the  hostile  blade,  by 
bending  the  fist  passes  before  its  point  into  the  d^gags. 

Compliment  of  Arms. 
It  is  customary  before  beginning  the  sally  for  the  fencers,  as 
well  as  the  seconds,  to  salute  each  other.     It  is  done  in  this  way  : 
After  the  fencers  have  taken  places  opposite  each  other  accord- 


i8o 


^ESTHETIC   PHYSICAL    CULTURE. 


ing   to  the    rules    laid    down,   the  teacher  gives  the  following 
commands  : — 

1.  Present  the  hand  to  your  adversary  ! 

While  the  left  hand  quietly  holds  the   foil  at   the  side,    the 
fencer  with  his  right,  gracefully  salutes  his  rival. 

2.  Hand  to  the  sword-handle  I 

According  to  rules  for  first  position  (See  Fig.  LXXXI.,  i.) 

3.  Draw  the  weapon  over  the  head ! 

As  in  Fig.  LXXXI.,  2,  3.     The  dotted  arms  over  the  head. 


Fig.  LXXXI. 

4.  Defensive  position  ! 

According  to  description  of  second  attitude  (Fig.  LXXV.) 

5.  Two  appels  ! 

See  Part  Fifth,  appel-sit^. 

6.  Open  arms! 

(See  Fig.  LXXXI.     The  outstretched,  dotted  arms.) 

7.  Measure y  or  in  line. 


FENCING.  l8l 

One  fencer  falls  out  of  line  until  he  almost. touches  the  breast  of 
his  rival  (See  Fig.  LXXX.),  but  with  the  foil  held  horizontally.  If 
the  rival  stands  too  far  away,  he  steps  up  to  the  point  ;  if  he  stands 
too  near,  he  steps,  (carefully  covering  his  retreat)  backward. 

8.  Salute  fourth  ! 

The  hand  movement  of  No.  i  will  now  be  made  with  the  foil 
to  the  second,  toward  the  outside  of  the  opponent,  as  in  Fig. 
LXXVIII. 

9.  Salute  third! 

(See  Fig.  LXXVII.)     To  the  inner  side  of  the  adversary. 

10.  Salute  both! 

The  fencers  salute  in  fourth  (Fig.  LXXVIII.). 

11.  Turn  the  hand  in  third ! 

The  hand  is  turned  from  the  fourth  to  the  third  position.  (Fig, 
LXXVII.) 

12.  Ramassement ! 

Hands  as  in  Fig.  LXXXL,  and  without  pause,  drawing  the 
weapon  over  the  head,  (Fig.  LXXXI,  2,  3.) 

13.  Defensive  position  !     (Fig.  LXXV.) 

After  a  longer  or  shorter  salutation  the  contest  begins.  These 
salutes  with  weapons  must  be  elegantly  carried  out.  The  spec- 
tator then  has  the  feeling  that  two  really   skilful   fencers  are 

engaged. 

General  Advice. 

1.  Never  look  at  your  own  foil,  but  keep  a  sharp  watch  over  the 
eye  and  hand  of  your  antagonist. 

2.  The  foil-point  of  the  aggressor  must  always  be  nearer  the 
rival,  than  the  latter's  foil-point  to  him  (the  aggressor). 

3.  Attack  always  at  the  required  distance  so  that  the  rival 
may  have  no  mischance  to  complain  of. 

4.  Keep  always  the  right  line  if  you  would  not  offer  too  many 
exposed  points  to  the  rival's  sword. 

5.  After  all,  the  main  thing  is — cool  blood. 


PART   SIXTH. 


MAIN  PRINCIPLES  OF  DRESS. 


CHAPTER  I. 
MAIN  PRINCIPLES  OF  DRESS. 

Nature  is  everywhere  harmonious,  but  the  greatest  harmony 
meets  us  in  the  human  figure.  It  is,  therefore,  our  task  not  to 
distort  the  form  of  the  human  body  by  dress  and  adornment,  but 
to  allow  it  to  reach  its  fullest  development.  Whatever  the  de- 
mands of  fashion  may  be,  the  finely  cultured  man  or  woman  may 
not  be  absolved  from  this  duty.  One  will  not  slavishly  follow  the 
mode,  but  with  fine  tact  take  away  here,  add  there,  and 
especially  consider  what  best  suits  his  individuality,  and  what 
in  color  suits  his  complexion  or  temperament.  To  the  woman 
falls  a  task  far  more  difficult  than  that  of  the  man  ;  for,  while  the 
woman  may  beautify  her  appearance,  by  the  cut  and  arrangement 
of  her  dress,  by  ornaments,  ribbons,  plumes,  and  especially  by 
manifold  colors,  the  man  of  our  century  is  confined  to  a  simple 
and  restricted  dress  with  little  choice  of  color. 

Woinans  Dress. 

We  say  that  the  greatest  harmony  meets  us  in  the  human  form* 
Here  are  symmetry,  order,  proportion,  animated  variety,  perfect 
blending  of  all  the  parts  into  one  whole.  The  dress  and  adorn-, 
ment  employed  by  women  can  and  must  have  no  other  purpose 
than  to  assist  or  render  more  pleasing  one  or  another  part  of  the 
figure,  and  they  must  never  detract  from  the  ease  of  the  dress  or 
the  entire  appearance.  Woman  should  be  the  emblem  of 
a  beautiful  simplicity ;  tasteful,  moderate  ornament  only 
enhances  the  charm  of  this  simplicity,  while  affected,  forced,  strik- 
ingly conspicuous  ornament  may  attract  attention,  not  to  loveli- 
ness of  the  form,  but  to  the  price  and  workmanship  of  the 
ornaments. 

The  greatest  art  in  toilet  adornment  consists  in  having  it  in  the 


l86  ESTHETIC    PHYSICAL   CULTURE. 

Utmost  possible  harmony  with  the  person.  It  would  be  a  great 
fault,  and  the  lady  would  miss  her  aim  entirely,  if,  for  instance, 
a  small,  charming  figure  should  wear  elaborate  and  carefully  ar- 
ranged ornaments,  while  they  ought  to  be  light  and  seemingly  im- 
provised. On  the  contrary,  a  tall,  majestic  figure  may  wear  to 
advantage  a  heavy  and  elaborate  dress.  In  the  toilet  self-love 
and  vanity  must  so  far  vanish  that  each  one  arrives  at  this  con- 
viction :  '^  Nature  has  made  me  so  and  so,  and  only  this  suits  my  face 
and  figure."  For  the  sole  ofificeof  adornment  is  to  enhance  the  natu- 
ral charms,  and  this  may  be  realized  as  well  through  colors  as  by 
the  form  of  the  clothes,  and  the  ornaments. 

A  great  mistake  in  women  lies  in  paying  entire  attention  to  the 
adornment  of  the  face  and  its  surroundings,  to  the  neglect  of 
other  parts  of  the  body.  The  face  and  head  certainly  form  that 
part  upon  which  the  eye  of  the  observer  falls  first,  but  the  adorn- 
ment of  this  part  should  never  destroy  the  harmony  of  the  whole 
figure.  Above  all,  the  lady  must  keep  before  her  a  decided  im- 
pression of  the  whole,  with  which  every  single  part  must  harmo- 
nize in  place  and  quality.  A  beautiful  face  receives  the  full  might 
of  its  charm  only  from  beauty  of  the  whole  person. 

Hence  it  appears  clearly  that  in  dress  harmony  is  far  more  dif- 
ficult of  attainment  than  magnificence.  The  choice  of  a  costume 
must  always  be  dictated  by  circumstances.  The  hostess,  by  a 
simple  dress,  shows  that  she  is  ready  for  our  service  ;  costly 
adornment  would  not  allow  us  to  feel  at  home  in  her  presence. 
At  the  sick  bed  of  a  friend,  a  simple  house  dress  is  far  more  ap- 
propriate than  an  elegant  walking  costume.  In  a  social  gathering 
more  care  in  dress  is  required,  but  a  really  fine  dress  is  only  for 
festal  occasions,  such  as  balls,  theatres,  concerts,  etc.  To  appear 
here  in  ordinary  attire  would  be  an  open  breach  of  propriety  and 
an  insult  to  the  company. 

At  all  religious  solemnities,  especially  at  church,  the  dress 
must  be  simple,  sober,  and  modest.  We  must  avoid  all  that  is 
really  adornment,  if  we  would  not  incur  the  reproach  of  decking 


DRESSING.  187 

ourselves  in  fine  array  for  the  house  of  God.  A  lady  in 
mourning,  whose  dress  gives  evidence  of  great  art  and 
care,  will  not  excite  our  sympathy.  Upon  the  promenade,  as  in 
all  circles  connected  with  it,  one  should  appear  in  a  costume 
which  holds  a  medium  between  a  house  dress  and  a  grand  toilet, — 
which,  while  it  displays  care  and  some  degree  of  ornament,  is  re- 
moved from  all  stiffness  and  constraint. 

Various  ages  and  conditions  require  varied  dress.  The  young 
girl,  who  has  just  become  a  bride,  must  modify  somewhat  the 
dress  that  so  charmingly  became  her  as  a  young  maiden,  if  she 
would  impress  us  as  an  amiable  wife.  Her  dress  must  still  show 
a  desire  to  give  her  beauty  its  full  value,  but  never  to  attract  at- 
tention. With  increasing  years,  colors  and  forms  should  become 
more  quiet.  No  sight  is  more  ridiculous  than  that  of  an  elderly 
lady  seeking  to  represent  youth  in  dress  and  demeanor.  Every 
period  of  life  has  its  various  appropriate  and  charming  forms  and 
colors,  and  the  woman's  task  is  to  select  the  most  fitting,  and  to 
confess  to  herself  that  it  is  time  to  choose  them.  If  a  beautiful 
woman  neglects  this,  she  will  never  attain  the  end  she  desires. 

All  peoples  and  all  eras  have  given  great  care  to  the  adorn- 
ment of  the  head  ;  this  has  been  especially  the  case  with  women, 
who  in  this  way  have  great  transformations  at  command.  But  a 
lady  must  not  allow  herself  to  be  so  carried  away  by  a  fashion, 
as  to  adopt  it  merely  because  it  is  the  fashion  without  considering 
whether  or  not  it  harmonizes  with  her  face.  The  main  thing  in 
the  woman's  head-gear  is  to  harmonize  the  reigning  mode  with 
the  natural  form  of  the  face. 

The  long  face  demands  smooth  hair  over  the  forehead,  falling 
on  both  sides  in  thick  curls  ;  but  the  round  face  requires  the  hair 
w^orn  high  above  the  forehead,  in  some  becoming  form,  the  ears 
being  left  wholly  uncovered.  A  short,  broad  face  gains  by  having 
the  hair  still  more  drawn  back,  and  also  by  having  it  waved,  as 
both  modes  make  the  face  appear  less  short  and  broad.  It  is 
also  advisable  to  wear  the  hair  drawn  back   from  the  forehead 


i88  ESTHETIC   PHYSICAL   CULTURE. 

when  it  grows  too  low  down,  and  gives  the  forehead  a  narrow 
appearance.  A  long  face  appears  still  longer  and  more  plain 
if  the  hair  is  drawn  back  or  piled  up  over  the  forehead  ;  a  broad 
face,  on  the  contrary,  only  wins  by  this  mode.  Attention  to 
other  people's  ways  of  arranging  the  hair,  unprejudiced  observa- 
tion and  analysis  of  each  part  of  this  adornment,  and  then  a  criti- 
cal survey  of  her  own  before  the  mirror, —  this  is  the  practical 
school  in  which  the  cultured  and  tasteful  lady  may  make  speedy 
and  visible  progress  in  the  art  of  a  fine  toilet.  If,  through  re- 
peated effort,  she  has  found  an  arrangement  of  the  hair  suited  to 
her  face,  she  may  prize  it  as  a  real  means  of  enhancing  her 
beauty,  and  she  will  not  merely  for  fashion's  sake  hasten  to  ex- 
change it  for  another,  perhaps  less  becoming  mode.  The  mode, 
which  really  enhances  her  beauty  of  face  and  figure,  she  should 
regard  as  her  own  mode,  and,  holding  fast  to  it,  never  change  it 
save  in  trifles. 

An  indispensable  condition  of  the  head-dress  is  airiness  and 
movement,  with  an  avoidance  of  all  pretension.  Ribbons  and 
veils  must  be  light  and  fluttering.  If  a  lady  chooses  plumes 
for  the  adornment  of  her  head,  they  must  never  be  stiff,  but  float 
lightly  and  gracefully.  One  avoids  placing  ribbons  and  jewels 
or  metals  and  feathers  together,  as  also  adding  long  feathers  to 
veils.  If  ornamental  pins  and  combs  for  the  hair  are  not  to  be 
regarded  as  tawdry  finery,  they  must  be  always  real,  or  concealed 
by  ribbons,  veil  or  curls.  Bright  colors  should  be  removed  from 
the  face  by  a  proper  arrangement  of  the  hair,  or  they  will  detract 
from  its  beauty.  As  for  the  form  of  the  lady's  hat,  there  is  no 
doubt  that  the  round,  graceful  form,  which  displays  the  whole 
outline  of  the  head,  is  preferable  to  the  exaggerated,  puffed-up 
form. 

Men's  Dress. 

Although  the  fashion  of  our  century  does  not  allow  a  man  the 
variety  in  dress  and  its  adornment  which  is  permitted  to  women, 
he  must  be  none  the  less  careful  in  the  choice  of  materials,  colors 


DRESSING.  189 

and  forms.  Clumsy  boots  or  shoes,  or  a  coarse,  ill-formed  hat 
spoils  the  finest  toilet.  Let  the  form  of  the  hat  be  elegant,  and 
always  suited  to  the  face.  A  low  hat  better  suits  long,  thin  faces, 
than  a  high  one  ;  small  faces  are  also  seen  at  a  disadvantage  un- 
der high  or  broad-brimmed  hats.  Almost  any  form  is  suited  to 
full  faces,  but  the  high  hat  more  so  than  the  low  one.  The  hat 
must  not  sit  near  the  eye-brows  ;  still  less  far  from  them.  The 
latter  may  all  too  easily  become  ridiculous.  Caps  are  allowed 
only  in  the  house  or  on  journeys,  and  do  not  belong  to  men's 
toilet. 

In  dressing  the  neck  it  must  be  taken  into  account  whether  the 
neck  is  long,  short,  thick  or  thin.  In  the  first  case,  it  must  be 
dressed  higher,  in  the  second,  lower,  in  the  third,  thinner,  in  the 
last,  thicker. 

We  have  said  that  men  must  pay  due  regard  to  material, 
form  and  color,  which,  taken  as  a  whole,  must  be  suited  to  indi- 
viduality, age  and  condition.  For  the  man  of  culture,  the  use  in 
view  decides  —  show  and  ornament  being  entirely  subordinate. 
All  over-dressing  is  especially  to  be  avoided.  A  costly  but  not 
too  showy  breast-pin,  two  genuine  rings  at  most,  are  his  orna- 
ments. Fine,  white  linen  is,  above  all,  a  sign  of  good  taste  and 
cleanliness. 

The  form  of  the  dress-coat  always  follows  the  reigning  mode, 
and  can  deviate  from  it  only  in  trifling  respects.  The  color  of 
the  coat  is  always  black  on  festal  occasions  ;  for  walking  or  for 
morning  visits,  etc.,  it  may  be  brown  or  blue.  Nearly  all  colors 
may  be  chosen  for  the  coat.  Whether  a  white  or  black  vest  shall 
be  worn  with  a  black  dress-coat,  depends  upon  the  ruling  mode. 
The  pantaloons  are  subject  to  the  constant  changes  of  fashion  ; 
not  too  wide  or  too  narrow  is  the  best  rule  here.  In  regard  to 
this  article  of  dress  it  may  be  observed  that  if  colored  it  should 
always  be  lighter  than  the  coat. 

The  gloves  must  be  of  fine  leather  and  sit  well ;  white  for  fes- 
tal occasions,  light  brown,  yellowish,  or  ash  gray  for  every-day 


IQO  ^ESTHETIC    PHYSICAL   CULTURE. 

wear.  As  in  the  pantaloons,  one  has  to  consider  here  that  the 
gloves  must  be  lighter  than  the  coat.  Ash-gray  and  fawn-color 
are  well  suited  to  every  dark  colored  coat ;  black  or  dark  gloves 
must  never  be  worn  with  a  light  costume.  One  wears  glasses 
only  when  he  really  needs  them.  The  frames  should  be  of  gold 
or  silver.  The  man  of  culture  will  only  carry  the  glasses  to  the 
eyes  when  really  necessary  ;  a  continual  adjusting  of  them  to  the 
eyes  is  silly.  Watch  chains  should  always  be  genuine  ;  if  such 
an  one  cannot  be  had.  one  wears  his  watch  suspended  from  a 
simple  black  ribbon. 

In  the  choice  of  colors  the  man  should  pay  careful  regard  to 
his  face,  hair  and  figure.  Black,  brown,  dark  blue  and  steel-green 
suit  every  face  ;  light  blue,  light  gray,  fawn-color,  and  similar 
hues,  are  becoming  only  to  fresh,  animated  faces,  and  brown 
hair. 

All  we  have  said  refers  just  as  much  to  the  dress  of  the  actor 
as  to  that  of  the  private  man.  Still  some  remarks  must  be  added 
for  the  benefit  of  the  former. 

If  cleanliness,  neatness  and  good  form  in  dress  are  especial 
obligations  of  the  cultured  man,  the  actor  is  doubly  bound  by 
these  obligations  ;  not  because  thousands  of  eyes  rest  upon  him, 
but  because  he  is  to  serve  as  a  pattern,  because  the  stage  should 
be  the  school  of  culture  and  fine  manners,  and  an  offence  against 
them  here  deserves  to  be  far  more  strictly  punished.  Above  all, 
the  actor  must  avoid  appearing  upon  the  stage  in  the  dress  in 
which  the  public  is  wont  to  see  him  on  the  street.  It  makes  an 
unpleasant  impression  when  we  think  of  a  Mr.  So-and-So,  and  he 
appears  to  us  in  the  person  of  the  actor  So-and-So.  Even  if  the 
audience  are  not  so  deceived  as  to  be  unaware  that  the  actor  Mr. 
X.  plays  this  or  that  role,  they  must,  under  no  condition,  be  re- 
minded of  it  by  the  street  dress  of  the  actor.  But  here  it  is  by 
no  means  said  that  the  actor  is  to  wear  no  part  of  his  street  cos- 
tume upon  the  stage  ;  he  is  only  reminded  that  he  must  not  ap- 
pear in  his  entire  street  dress,  which  in  itself  forms  a  decided 


DRESSING.  191 

whole,  before  the  eyes  of  the  pubhc,  which  would  then  see  an- 
other character  than  that  of  the  actor. 

In  regard  to  dress  that  is  not  modern,  and  that  in  stage  lan- 
guage is  designated  by  the  word.  "  costume,"  it  conforms  strictly 
to  the  time  in  which  the  persons  represented  lived  ;  and  if  we  un- 
derstand how  to  represent  the  historical  costume  correctly,  we 
might  still  warn  against  a  too  strict  truth  to  history  ;  that  is,  we 
would  advise  the  player  to  adopt  the  historical  costume  only  so 
far  as  decorum,  custom  and  the  law  of  beauty  allow. 

Ladies  will  do  well  to  consult  their  associates  over  the  choice 
of  colors,  so  that  not  two  or  three  persons  may  appear  in  the 
same  colors,  if  it  is  not  especially  necessary.  It  is  also  to  be  ob- 
served that  in  characters  whose  main  trait  is  ease,  new  costumes, 
which  are  always  stiff,  are  not  to  be  chosen;  neither  in  charac- 
ters which  portray  old  age,  niggardliness,  avarice,  etc. 

Combination  of  Colors. 

In  conclusion  we  will  make  some  remarks  upon  colors  and  their 
combinations. 

Colors  are  usually  divided  into  primary  or  purely  fundamental 
colors  —  yellow,  red  and  blue  ;  into  secondary,  which  are  formed 
by  two  primary  colors, —  orange  from  yellow  and  red,  green  from 
yellow  and  blue,  purple  from  red  and  blue  ;  and  finally  tertiary 
colors,  of  which  there  also  three,  and  which  always  result  from 
the  combination  of  two  secondary  colors,  m  which  one  color 
rules:  —  citron-yellow  from  green  and  orange;  reddish  brown 
from  orange  and  purple  ;  and,  finally,  olive-green  from  a  mixture 
of  purple  and  green.  Besides,  we  have  half-neutral  tints  :  brown, 
maroon  (like  the  color  of  the  Italian  chestnut),  and  gray  ;  last  of 
all  the  neutral  tints,  white  and  black. 

The  fewer  colors  in  one  and  the  same  toilet,  the  more  tasteful 
it  is.  White  and  black  are  always  the  best  and  noblest  hues  for 
dress,  singly  as  well  as  in  their  combinations. 

For  pale  faces,  yellow,  light  blue  and  pale  blue,  violet  and  light 
gray  are  to  be  avoided  ;  and  a  brownish,  sallow  complexion   in 


192  ESTHETIC   PHYSICAL   CULTURE. 

either  sex  always  appears  to  disadvantage  in  white,  yellow,  light 
gray,  and  especially  pale,  light  colors. 

Here  becoming  dark  colors  must  be  chosen.  Black,  dark  or 
steel-green,  dark  blue,  crimson,  dark  gray  and  brown,  must  here 
in  the  toilet  be  blended  with  white.  These  colors  are  becoming 
to  almost  every  face,  but  in  florid  complexions,  crimson,  bright  red 
and  reddish  brown  are  to  be  avoided.  On  the  contrary,  light  gray, 
fawn-color,  and  even  light  green,  like  very  light-colored  dresses, 
for  the  most  part  are  well  suited  to  lively,  fresh  and  brunette 
faces.  For  brunette  ladies,  yellow  and  red  are  becoming  in  hat- 
bands as  well  as  in  clothing.  Blondes,  on  the  contrary,  should  avoid 
all  yellow  shades,  and  turn  to  delicate  green,  rose  and  lilac,  which 
colors  are  in  turn  less  becoming  to  brunette  faces. 

Black,  white,  sky-blue,  rose-red,  and  straw  are  the  noblest 
colors.  Then  come  those  most  intimately  related  to  them.  The 
contrasting  colors  are  :  green  and  pink,  silver  and  yellow,  black 
and  brown,  violet  and  yellow,  blue  and  orange,  rose  and  light 
green.  The  harmonizing  colors  are  :  black  and  pale  yellow;  sky- 
blue  to  white  and  pale  yellow;  blue  to  white;  pale  blue  and  pale 
rose-red;  black  to  white;  to  scarlet  and  lilac  only  white,  silver  and 
pale  straw;  to  dark  brown,  white  and  straw;  crimson  and  blue; 
sea-green  and  yellow  ;  red  and  gold  ;  black  and  gold  ;  also  black, 
red  and  gold  ;  gold  and  silver  ;  silver  and  blue  ;  red,  brown  and 
lilac  ;  yellow  and  lilac  ;  yellow,  brown,  black  and  red  ;  green  and 
red  ;  brown,  yellow,  red,  blue  and  broken  gray  and  black  tones  ; 
yellow  and  black  ;  white  and  yellow  ;  yellow,  white  and  gray  ; 
red  and  black  ;  red  and  yellow  ;  lilac,  blue  and  red  ;  white  and 
green  ;  white  and  rose  ;  white  and  yellow  ;  in  short,  white  with 
all  colors. 

Blondes  should  choose  delicate  colors  and  those  blending  in 
combination  ;  brunettes,  on  the  contrary,  contrasting  and  inde- 
pendent colors,  such  as  bright  red  and  brown,  bright  yellow  and 
violet,  flame-color  and  black.  White  stuffs,  such  as  linens,  laces 
and 'silks,  should  never  affect  bluish,  but  rather  yellowish  tints, 


DRESSING.  193 

if  they  are  to  harmonize  with  the  color  of  the  flesh.  If  the  com- 
plexion has  greenish  or  grayish  tints,  dark  green  or  dark  gray  may 
be  worn,  but  here  black  is  preferable. 

The  brightest  colors  should,  so  far  as  possible,  always  be  next 
to  the  head  and  face  ;  loud  and  contrasting  ones  should  be  di- 
vided and  not  brought  into  too  great  masses.  Hence  it  follows 
that  they  are  not  to  be  used  for  the  main  color  of  the  dress,  but 
only  for  its  decoration.  All  dark  colors'should,  if  practicable,  be 
arranged  below  and  light  ones  uppermost.  Shoes  of  very  light 
color  should  never  be  worn  with  dark  or  black  dresses  ;  red,  pink 
or  yellow  ones  should  not  be  chosen  ;  but  light  colored  shoes  are 
suited  to  light  toilets. 

A  toilet  of  entire  white,  with  even  ribbons  and  ornaments  cor- 
responding, is  uncommonly  delicate,  betrays  a  fine,  noble  taste, 
and  is  suited  to  august  occasions.  For  joyous  festivals,  a  garni- 
ture of  rose,  sky-blue,  pale  green,  or  delicate,  leaves  and  flowers, 
is  an  agreeable  innovation.  For  elderly  persons,  black  is  incon- 
testably  not  only  the  most  suitable,  but  also  the  most  dressy  ; 
next  to  this  are  fine  browns,  blue  or  gray,  as  best  suits  the  com- 
plexion. Colors  destined  for  evening  toilets  should  be  chosen  by 
artificial  light. 


13 


PART   SEVENTH 


Application  of  the  Rules  Given  in  this  Book  to 
Common  Life,  the  Salon  and  the  Stage. 


CHAPTER  I. 

APPLICATION  OF  THE  RULES  GIVEN  IN  THIS  BOOK  TO  COM- 
MON LIFE,  THE  SALON  AND  THE  STAGE. 

As  we  have  hitherto  given  only  fundamental  rules,  and  in  them 
have  regarded  people  only  from  the  stand-point  of  aesthetic  gym- 
nastics, so  shall  we  now,  in  the  application  of  the  rules  laid  down, 
fix  only  main  principles,  as  we  allow  man  to  pass  before  us  in  his 
social  relations. 

What  is  Decorum  2 

One  who  has  thus  far  studied  our  book  carefully,  can  be  in  no 
doubt  as  to  the  answer  to  this  question.  But  the  dramatic  artist 
must  be  interested  in  having  this  word  decorum  somewhat  further 
elucidated.  And  who  in  this  matter  can  be  considered  better 
authority  than  our  old  master,  Iffland  ?  We  therefore  let  him 
speak  for  himself  : 

"  By  the  term  decoru77i  many  actors  think  of  nothing  but  espe- 
cially distinguished  manners.  They  think  to  attain  them  by  a 
lofty  carriage  of  the  head,  by  a  measured  gait,  by  a  vacant  stare 
which  sees  and  recognizes  nothing.  They,  therefore,  choose  the 
most  high-stepping,  magnificent  figure  that  occurs  to  them  as 
the  ideal  of  fine  manners.  They  should  rather  say  to  themselves 
— good  manners  are  that  deportment  which  the  person  to  be 
represented  would  naturally  assume  in  the  given  situation. 

"  The  deportment  of  the  prince,  of  the  minister,  the  general, 
the  rich  man,  the  father,  if  each  is  a  man  of  culture,  must,  in 
the  main,  be  more  or  less  the  same.  In  some  cases,  professional 
habits  and  costume  may  change  the  outward  appearance.  Tem- 
perament, character,  and  passion  must  also  necessarily  produce 
differences  in  deportment.     The  ordinary  dancing-master  cannot 


198  .ESTHETIC   PHYSICAL   CULTURE. 

give  this  instruction.  The  genius,  the  peculiarities  of  the  actor 
must  be  his  inspiration. 

"Those  who  have  not  received  early  instruction  in  fine 
manners,  and  must  rely  wholly  upon  later  instruction,  will  at 
least  seek  to  grasp  fundamental  rules,  and  try  to  adapt  them- 
selves fully  to  the  requirements  of  good  breeding.  This  is  pos- 
sible, when  the  feeling  for  beautiful  forms  is  especially  decided. 

"To  acquire  manifold  ideas  on  this  subject,  it  is  excellent 
to  see  distinguished  men  at  moments  when  they  are  conspicu- 
ously before  the  world,  or  may  be  supposed  to  be  in  peculiar 
states  of  mind.  Even  if  they  do  not  possess  the  gift  of  outward 
representation,  still,  at  such  moments,  their  manners  are  con- 
trolled by  the  predominant  idea,  and  from  the  way  in  which 
they  pass  through  the  ceremonial,  one  learns  to  perform  de- 
cidedly what  is  necessary. 

"  It  is  not  in  the  power  of  every  one  to  acquire  fine  manners. 
It  is  given  to  but  few.  It  is,  however,  granted  to  many  to  attain 
a  good  deportment.  Yet  no  one  can  excuse  himself  if  a  decent 
one  be  wanting.  ^ 

"  This  can  be  attained  by  ordinary  attention.  Nothing  more 
retards  its  attainment  than  those  negligences  one  allows  one's 
self  in  every  day  life,  and  especially  at  home.  The  actor  should 
at  all  times  demean  himself  as  if  opposite  Xkvt parterre.'' 

Politeness  and  Modesty. 

"  Be  polite  to  every  one,  whether  he  stands  above  or  below 
you,"  is  a  common  maxim  which  must  be  made  the  main  principle 
of  every  person  who  pretends  to  culture.  By  politeness  we  do  not 
understand  cringing  to  others.  Let  each  one  ask  himself  in 
all  cases  (if  in  doubt  over  the  degree  of  politeness),  how  he 
would  wish  others  to  meet  him,  and  the  doubt  will  at  once  van- 
ish. If  politeness  does  not  spring  from  the  deepest  depths  of 
one's  nature,  it  has  the  contrary  effect,  for  nothing  is  more  repul- 
sive than  politeness  that  arises  from  cool  and  deliberate  calcula- 


APPLICATION   OF   THE   RULES   GIVEN.  I99 

tion.  It  is  impossible  to  give  exact,  exhaustive  rules  ;  he  who 
has  a  sincere  desire  to  be  polite  will  always  find  rules  ;  but  gen- 
eral hints  may  certainly  be  given. 

The  polite  man  will  regard  each  individuality  from  its  own 
standpoint,  and  give  it  its  full  value  as  such  ;  he  will  take  it  as 
it  is,  and  not  as  it  should  be.  He  will  not  seek  forcibly  to  im- 
press his  own  ideas  upon  others  ;  he  will  represent  them  merely 
as  his  own,  and  not  as  general  and  irrefutable.  If  he  is  not 
questioned,  he  is  silent  ;  if  he  is  questioned,  he  gives  his  opinion 
plainly,  but  in  the  most  inoffensive  way.  This  manner  is  far 
more  effective  than  the  domineering  one,  and  not  in  the  least 
derogatory  to  politeness. 

It  is  impolite  to  interrupt  one  when  speaking,  without  urgent 
reasons,  or  to  remark  that  his  recitals  do  not  wholly  agree 
with  facts.  If  the  departure  is  slight,  one  is  entirely  silent ; 
if  it  is  so  marked  that  harm  might  ensue,  one  begs  pardon, 
and  remarks  that  the  narrator  may  not  have  been  quite  cor- 
rectly informed,  and  correct  the  error  in  such  a  manner  as  not 
to  wound.  In  like  manner,  if  the  honor  and  reputation  of  a 
person  not  present  are  attacked,  politeness  never  decrees  silence, 
but  to  a  manly  defense  of  the  one  unjustly  assailed. 

The  polite  man  never  omits  the  required  greeting  ;  he  does 
not  wait  anxiously  for  the  first  greeting  from  him  he  meets  ;  if 
not  directly  anticipating  him  he  at  least  approaches  half  way, 
and  never  omits  the  salutation,  or  to  recognize  it,  even  if  it 
comes  from  the  lowest.  It  is  impolite  not  to  give  the  best  pos- 
sible information  in  reply  to  a  question  ;  if  want  of  time  or 
knowledge  of  the  matter  do  not  allow  an  exact  answer,  an  excuse 
must  follow,  but  never  must  bad  humor  or  ill-will  be  evident  in 
the  reply.  Any  one  may  be  betrayed  into  a  breach  of  polite- 
ness ;  but  it  would  be  in  the  highest  degree  impolite  not  to  offer 
an  immediate  apology. 

Many  people  gauge  their  own  politeness  by  that  of  others  ; 
this  is  entirely  false.     Our  politeness  should  not  be  decided  by 


200  ESTHETIC    PHYSICAL   CULTURE. 

outside  things  ;  it  must  come  from  within,  and  we  should  not 
permit  ourselves  to  be  less  polite  because  another  is  impolite. 
It  is  unworthy  of  any  one  to  repress  his  inward  convictions  out 
of  politeness,  merely  for  the  sake  of  flattering  another.  It  is 
impolite  to  allow  any  one  to  remark  that  he  is  not  intellectually 
our  equal.  If  one  is  at  the  same  time  pretentious  and  ignorant, 
long  conversation  with  him  is  to  be  avoided  in  society  ;  by  'a  dis- 
play of  intellectual  superiority,  one  usually  more  offends  the  host 
and  the  company  than  the  person  himself  whom  he  would  hu- 
miliate. 

To  make  a  timid,  bashful  man  ridiculous  in  society  by  perpe- 
trating witticisms  at  his  expense,  is  not  only  impolite — it  is  exe- 
crable. Such  conduct  has  often  had  a  decided  effect  for  life 
upon  the  unfortunate  individual,  by  depriving  him  of  every  rem- 
nant of  self-confidence. 

Modesty,  must  be  united  with  politeness.  The  modest  man 
should  be  well  conscious  of  his  worth,  but  not  to  make  a  display 
of  it,  still  less  to  look  down  upon  less  favored  persons. 

A  really  able  but  forward  man  lowers  the  measure  of  his  ability, 
while  the  modest  man  heightens  it.  Modesty,  like  politeness, 
must  proceed  from  the  heart  ;  if  it  is  only  assumed  and  outward, 
it  may  easily  make  the  contrary  impression  of  arrogance  upon 
those  around  us.  In  like  manner  we  must  warn  against  too  great 
modesty  when  it  goes  so  far  as  to  wholly  forget  one's  own  inter- 
ests, even  to  neglect  them,  from  too  high  a  sense  of  honor  or 
the  wish  to  serve  others. 

So  much  of  modesty  and  of  politeness  in  general, — that  dictated 
by  the  heart  (for  in  our  book  we  have  nothing  to  do  with  the 
politeness  of  the  diplomatist).  Special  things  will  be  learned 
under  single  headings  in  the  course  of  this  part. 

Behavior  Upon  the  Street  and  Public  Places  in  the  Open  Air. 

The  man  of  culture  does  not  meditate  upon  the  street ;  he 
does  not  walk  dreamily  forward  with  hands  crossed  over  his 
back,  eyes  cast  upon  the  ground  ;  he  does  not  pause  from  time 


APPLICATION   OP^   THE    RULES   GIVEN.  20I 

to  time  ;  he  goes  on  his  way,  not  arrogantly,  but  with  firm  step, 
his  glance  straight  forward,  yet  so  that  he  can  see  what  hap- 
pens in  front  of  him  and  at  his  side.  If  he  meets  a  person  of 
his  own  rank,  he  salutes,  turning  half  aside  ;  if  he  meets  a  lady, 
he  steps  aside  far  enough  to  permit  her  to  pass  freely  ;  if  the 
path  is  narrow,  he  pauses,  and  lets  the  lady  go  past  him  ;  in  bad 
weather,  he  always  steps  aside  and  gives  the  lady  the  better  path. 
Salutation  upon  the  street  takes  place  by  removing  the  hat  at 
least  three  steps  in  front  of  the  person  to  be  saluted,  and  ends 
three  steps  behind  him.  (How  we  have  learned  under  ''  Saluta- 
tion.") The  removal  of  the  hat  will  begin  earlier  or  later, 
according  to  the  rank  of  the  person  greeted.  A  premature 
removal  of  the  hat  is  no  sign  of  great  respect ;  on  the  contrary, 
it  is  ridiculous. 

The  manner  of  pausing  before  every  acquaintance,  and  with- 
out any  special  reason,  engaging  him  in  conversation,  is  not  that 
of  the  cultivated  man.  In  most  cases  one  salutes  in  passing, 
but  if  he  meets  a  prince,  he  steps  aside,  pauses,  and  remains 
standing  with  uncovered  head  until  he  is  past.  If  in  walking 
one  chances  to  glance  upward  and  observes  a  person  at  a  win- 
dow, he  bows  ;  but  to  glance  persistently  right  and  left  into  open 
windows,  and  seize  every  possible  opportunity  of  bowing,  does 
not  belong  to  fine  tone. 

If  a  group  stand  conversing  upon  the  street,  every  one  of  this 
group  turns  fully  to  the  side  whence  the  greeting  comes  ;  if  this 
does  not  happen,  if  one  stands  quietly  in  his  place,  and  bows  as 
it  were  over  the  shoulder,  he  commits  a  breach  of  good  manners. 
if  one  passes  through  a  dividing  and  larger  group,  and  must 
bow  on  both  sides,  until  past,  he  carries  his  hat  at  the  side  of  the 
thigh. 

There  are  people  who  lay  great  stress  upon  being  greeted 
(recognized),  for  this  reason  none  should  neglect  it.  Just  as 
little  should  one  omit  to  have  the  same  degree  of  respect  in  the 
greeting  returned  as  in  that  given.  It  evidences  little  culture 
to  return  a  polite  greeting  indifferently  or  coldly. 


202  .ESTHETIC    PHYSICAL   CULTURE. 

If  we  accompany  any  one  who  salutes  a  stranger  to  us,  politeness 
demands  that  we  bow  also,  and  in  like  manner  that  we  return  the 
bow  if  our  companion  is  greeted.  But  if  our  companion  is  a  per- 
son of  higher  rank  than  we  ourself,  we  do  not  return  the  bow 
which  is  for  him  alone. 

Ladies  must  pay  great  attention  to  their  street  deportment. 
What  in  men  may  pass  for  ill-breeding  or  lack  of  culture,  may 
easily  assume  a  worse  character  in  women.  Hence  they  should 
avoid  all  unnecessary  gazing  around,  when  passing  along  the 
street ;  still,  anxiety  must  not  cause  a  lady  to  neglect  to  return 
the  greetings  she  receives  with  a  polite  bow.  (See  Reverence  in 
Walking).  The  lady  never  bows  first,*  but  if  she  receives  a  bow, 
she  must  in  all  cases  return  it.  Most  mothers  believe  they  have 
educated  their  daughters  remarkably  well,  if  they  pass  with  short, 
tripping  steps  over  the  street,  glancing  neither  right  nor  left  so  as 
not  to  be  obliged  to  return  salutations  too  often,  which  would  be 
improper.  Into  what  an  error  are  they  betrayed  !  The  woman, 
conscious  of  her  worth,  conscious  that  she  serves  as  a  pattern  of 
morals,  may  walk  on  freely  and  unaffectedly,  not  allowing  the 
least  anxiety  or  embarrassment  to  be  remarked  in  her  glance  or 
bearing.  Thus  only  she  avoids  that  which  through  an  anxious 
manner  she  had  thought  to  shun. 

Deportment  Toward  Ladies. 

Let  one  adopt  what  we  have  said  in  regard  to  Politeness  and 
Modesty,  and  he  will  have  the  rule  for  his  deportment  toward 
ladies.     We  will  add  a  few  things. 

As  politeness  must  be  dictated  by  the  heart,  so  must  the 
deportment  toward  ladies  be  devoid  of  everything  superficial  or 
forced;  a  clever  woman  distinguishes  very  sharply  between 
flattery  and  truth.  We  never  rise  in  the  respect  of  women  by  a 
pretense  of  kindly  service.  A  worthy  complaisance  is  the  required 
condition. 


*  In  America,  the  lady  always  bows  first.     She  thereby  gives  the  gentleman  permission  to 
bow  to  her. 


APPLICATION   OF   THE    RULES   GIVEN.  203 

Always,  and  in  all  situations,  ladies  are  2:iven  the  preference; 
but  in  mounting  a  stair-case,  propriety  demands  that  the  gentle- 
man precede  the  lady,  and  upon  reaching  the  top  wait  at  one  side 
the  stairs,  until  the  lady  is  also  at  the  top,  and  then  take  his  place 
at  her  side  or  behind  her. 

The  man  of  culture  and  tact  never,  in  presence  of  a  lady, 
leads  the  conversation  to  pure  science,  politics  or  religion,  or  to 
any  domain  where  the  lady  may  not  safely  follow.  If  the  lady 
herself  begins  such  a  conversation,  he  proceeds  with  great  cir- 
cumspection, continuing  only  so  long  as  it  is  the  lady's  pleasure 
to  follow,  which,  with  due  attention,  he  remarks  at  once.  A  man 
in  ladies'  society  must  be  very  careful  about  remarks  upon 
beauty,  ugliness  or  age;  nowhere  can  he  give  greater  offense 
than  here:  If  a  man  has  cause  and  occasion  to  pay  one  lady 
marked  respect  in  the  presence  of  others,  this  must  not  be  carried 
so  far  as  to  outrage  common  respect  toward  the  others.  A 
woman  seldom  forgives  this,  and  the  one  thus  distinguished  may 
easily  be  thrown  into  embarrassment.  In  the  society  of  ladies 
the  man  never  belongs  especially  to  one  individual,  but  to  the 
whole.  If  he  will  not,  or  thinks  he  cannot  observe  this  rule,  he 
had  better  remain  away  from  society. 

A  merry  humor  is  always  welcome  in  the  society  of  ladies,  but 
this  must  never  pass  permitted  limits,  neither  must  the  tone  of 
the  conversation  be  too  loud  or  too  familiar.  If  a  lady  seats  her- 
self on  a  sofa,  and  invites  a  gentleman  to  be  seated,  but  does  not 
make  an  unmistakable  motion  for  him  to  take  a  place  on  the  sofa, 
he  draws  a  chair  near  it,  and  seats  himself  upon  that. 
Deportment  in  Large  Companies, 

When  the  gentleman  enters  the  hall,  he  goes  immediately  to  the 
lady  of  the  house,  pays  her  his  first  compliments,  the  master  of 
the  house  his  second,  and  then  to  the  others  present.  Politeness 
demands  that  among  the  latter,  persons  of  rank  be  saluted  first. 
It  scarce  need  be  hinted  that  these  greetings  must  be  short,  no 
especial  pause  being  made  at  either,  least  of  all  before  the  host 


204  ESTHETIC    PHYSICAL   CULTURE. 

and  hostess.  If  the  lady  of  the  house  is  not  in  the  first  room,  the 
person  entering,  passes,  with  a  sHght  bow  to  those  present,  into 
the  next  room,  seeking  her,  to  salute  her ;  then  only  does  he 
mingle  with  the  company. 

The  guest  must  notice  carefully  whether  upon  his  entrance  the 
lady  or  the  master  of  the  house  is  in  conversation  with  other 
guests;  in  this  case,  he  waits  a  favorable  opportunity  before 
•approaching,  so  as  not  to  interrupt  the  conversation. 

If,  for  the  guest,  the  society  is  made  up  of  many  strange  ele- 
ments, he  must  gradually  be  introduced  to  one  and  another,  by 
an  acquaintance.  One  acquaintance  leads  to  another,  and  thus 
initiation  takes  place.  Regarding  the  principle  that  in  society 
every  single  person  belongs  to  the  whole,  one  will  avoid  all 
marked  isolation,  whether  from  individuals  or  from  the  many. 
Single,  greater  or  smaller  groups  must  needs  form,  but  they 
should  not  be  of  long  duration;  they  should  soon  dissolve  and 
the  individual  members  again  blend  with  others. 

If,  in  a  company,  recitations  or  performances  are  given  by  pro- 
fessional artists,  the  laity  will  do  well  not  to  undertake  them;  but 
if  on  the  contrary,  everyone  does  his  best,  no  one  who  has  the 
capability  of  entertaining  the  company  in  any  way,  may  excuse 
himself. 

We  would  here  especially  warn  against  one  very  frequent  and 
obtrusive  piece  of  ill-breeding;  this  is  the  want  of  attention  when 
one  or  another  person  performs  somethmg.  Conversation 
between  individuals  should  cease  at  once,  and  if  one  finds  no 
pleasure  in  the  performance,  he  must  never  let  his  dissatisfaction 
be  visible  in  any  way.  Unhappily,  we  find  this  breach  of  good 
manners  in  the  most  refined  circles.  How  constantly  we  see  two 
or  more  persons  during  the  performance  of  a  piece  on  the  piano, 
engaged  in  animated  conversation,  thus  gaining  more  or  less  the 
ill-will  of  the  company,  and  especially  that  of  the  performer  ! 
All  at  once  as  soon  as  the  music  ceases,  we  see  and  hear  them 
applauding  with  all  their  might,  and  far  more  lavishly  than  the 


APPLICATION   OF   THE    RULES    GIVEN.  205 

most  attentive  listeners!  One  can  regard  such  people  only  with 
aversion.  They  show  that  they  are  present  only  for  their  own 
sake  and  not  for  that  of  the  company. 

In  introductions  it  is  to  be  strictly  observed  that  the  lower  is 
to  be  introduced  to  the  higher,  the  younger  to  the  older,  the  gen- 
tleman to  the  lady;  hence  the  name  and  station  of  the  former  is 
always  first  to  be  mentioned,  and  then  the  name  of  the  one  to 
whom  he  is  introduced.  In  the  case  of  persons  of  distinguished  . 
rank  who  are  supposed  to  be  generally  known,  only  the  name  and 
station  of  the  one  introduced,  is  mentioned. 

If  one  takes  a  glass,  a  cup,  or  any  vessel  that  has  contained 
refreshments  from  the  hand  of  a  lady,  he  does  not  set  it  down  in 
the  first  place  that  offers,  in  which  case  it  may  easily  be  broken  ; 
he  motions  to  a  servant,  and  gives  it  to  him.  In  case  no  servant 
is  near  at  the  moment,  he  holds  the  object  in  hand  until  a  ser- 
vant arrives. 

If  one  is  engaged  in  conversation,  and  a  new  comer  appears, 
he  does  not  break  off  the  conversation.  In  a  few  brief  words,  he 
explains  its  import  to  the  newcomer,  and  goes  on.  Secrets  which 
the  one  iust  entering  may  not  hear,  do  not  belong  to  society. 

If  one  seats  himself  beside  one  or  niore  persons,  immediately 
before  setting  down  he  makes  a  slight  bow  to  one  or  all. 

Deportment  at  a  Ball. 
Deportment  at  a  ball  does  not  differ  from  deportment  in  a 
large  company,  or  from  that  toward  ladies  in  general.     There  are 
still  some  details  to  be  observed,  which  we  will  designate  in  a 
few  words  : — 

1.  Two  successive  dances  are  never  danced  with  one  lady. 

2.  Too  frequent  dancing  with  one  lady  is  to  be  avoided. 

3.  Politeness  demands  that  we  do  not  always  dance  only  with 
the  ladies  who  please  us,  but  with. those  who  are  less  pleasing 
to  us. 

4.  If  a  gentleman  would  invite  a  lady  to  dance,  he  does  not 
gaze  around  the  hall  in  such  a  way  as    to    attract  attention  ; 


2o6  ESTHETIC    PHYSICAL   CULTURE. 

he  does  not  pass  by  various  ladies  with  a  half-air  of  Wish- 
ing to  engage  them  ;  but,  from  the  place  where  he  stands, 
he  singles  out  his  partner,  and  approaches  her  with  decided 
steps.  One  to  two  steps  (according  to  space)  before  the  lady, 
the  bow  is  made,  and  the  address  follows.  In  withdrawing  from 
a  lady,  who  is  already  engaged,  he  takes  a  step  backward,  and 
withdraws  with  a  bow.  It  is  very  impolite  if,  in  this  case,  he 
without  delay,  engages  the  lady  sitting  next,  which  is  as  much  as 
to  say:  "Because  I  cannot  have  this  one,  I  take  you."  No 
greater  offense  toward  a  lady  is  possible.  It  is  better  to  go  back 
to  one's  place,  and  single  out  another  lady,  approaching  her  as 
the  first.  It  also  shows  little  culture  when  the  gentleman  with 
whom  the  lady  declines  to  dance,  gives  evidence  of  wounded 
feelings  ;  if  the  lady  is  engaged,  he  has  no  reason  ;  if  she  re- 
fuses to  dance  with  him  for  other  reasons,  the  lady  fond  of 
dancing  has  already  punished  herself,  since  she  must  remain 
sitting  at  least  during  this  dance,  for  no  lady  of  culture,  after  she 
has  given  a  gentleman  a  refusal  of  one  dance,  will  grant  this 
dance  to  another. 

If  there  is  no  other  reason  than  that  the  lady  is  engaged, 
politeness  demands  that  in  refusing,  she  begs  the  hand  of  the 
gentleman  for  the  next  or  for  a  future  dance.  If  the  lady  is 
ready  for  the  dance,  she  rises  immediately  upon  receiving  the 
invitation  ;  at  the  same  time,  the  gentleman  with  one  step  passes 
to  her  left  side,  and  receives  in  his  right  hand  the  finger-tips  of 
the  lady's  left  hand,  and  with  lifted  arm  steps  with  her  to  the 
place  where  the  dance  is  to  begin.  It  is  impolite  to  take  the 
lady  by  the  arm  as  soon  as  the  engagement  takes  place  ;  it  im- 
plies a  familiarity  which  must  never  be  displayed  at  a  ball,  unless 
it  is  a  family  ball.  If  the  dancing  pair  have  to  begin  the  dance 
at  the  very  place  where  the  engagement  is  made,  the  gentle- 
man after  he  receives  the  lady's  hand,  assumes  the  proper  posi- 
tion and  begins. 

5.  During  the  dance   one   avoids  every   too  near   approach, 


APPLICATION   OF  THE   RULES   GIVEN.  20/ 

every  placing  the  chin  upon  the  lady  or  gentleman's  shoulder,  (a 
sin  against  decorum  unhappily  of  frequent  occurrence  in  our 
day,  but  especially  to  be  condemned),  and  pursues  the  dance  in 
the  most  well-bred  manner,  to  its  close.  As  soon  as  the  dance 
is  ended,  the  gentleman  leads  the  lady,  in  the  same  way  as  before 
beginning  it,  to  her  place.  Two  or  three  steps  before  reaching 
the  place,  the  lady  turns  to  her  partner,  a  slight  bow  from  both 
takes  place,  which  the  lady,  now  loosing  her  hand,  follows  with  a 
full  reverence,  while  the  gentleman  makes  the  "  reverence  at 
departure." 

6.  It  is  especially  ill-bred  during  the  ball  (except  at  table,)  to 
draw  off  the  glove,  and  immediately  before  or  even  during  the 
engaging,  draw  it  on  again.  The  man  of  fine  feeling  takes  two 
pairs  of  gloves  with  him  to  everv  ball,  and  changes  as  soon  as 
is  necessary  ;  to  offer  the  lady  one's  hand  with  a  soiled  glove  on 
it  is  indelicate  in  the  highest  degree.  ^ 

7.  To  come  to  a  ball  promised  beforehand  for  all  the  dances, 
places  the  lady  in  no  agreeable  position  in  regard  to  the  gentle- 
men ;  it  is  well  enough  to  be  engaged  for  two  or  at  the  most 
three  dances  in  advance,  but  it  is  not  well  for  a  lady  to  be  forced 
to  refuse  every  gentleman  who  comes  to  engage  her.  Aside 
from  the  consideration  that  it  cannot  be  pleasant  for  them,  it 
may  easily  give  such  a  lady  the  reproach  of  prudery. 

8.  At  a  ball  every  pair  has  the  same  rights  ;  one  should  not 
therefore  press  into  the  foreground. 

9.  In  round  dances  a  too  rapid  movement  out  of  the  row  of 
dancers,  and  dancing  in  front  of  it,  is  ill-bred. 

10.  The  main  rule  for  the  cultured  man,  is  to  follow  implicitly 
the  arrangements  of  the  director  of  the  ball. 

11.  A  dancer  has  to  observe  the  greatest  caution  if,  during  a 
brief  pause,  he  would  say  a  few  words  to  his  lady.  If  he  broaches 
a  grave  topic,  he  bores  ;  if  he  speaks  superficially,  he  gives  the 
impression  of  an  effeminate  man.  He,  therefore,  well  considers 
with  whom  he  dances,  and  what  he  can  possibly  say. 


208  ESTHETIC    PHYSICAL   CULTURE. 

All  we  have  thus  far  said  in  regard  to  the  ball,  refers  certainly 
to  the  first,  most  refined  circles  ;  and  it  is  evident  that-  modifica- 
tions enter  according  to  the  sphere  in  which  the  ball  takes  place  ; 
but  the  man  of  culture  makes  no  distinction  ;  he  remains  equally 
himself  everywhere.  A  man  will  never  incur  the  reproach  of  too 
great  refinement,  but  more  often  quite  the  contrary. 

Deportinent  at  Table. 

In  going  to  the  table,  the  lady  of  the  house  and  the  highest 
guest  take  precedence  ;  and  when  these  are  seated  the  others 
(ladies  first)  sit  down,  making  a  slight  bow  to  the  left  and  right. 

Each  guest,  without  further  delay,  will  take  the  designated 
place.  One  takes  care  not  to  let  it  be  remarked  that  he  would 
prefer  another  place  ;  it  is  an  insult  to  the  hostess  and  the  per- 
son near  whom  he  is  seated.  If  one  has  to  choose  his  own 
place,  he  waits  modestly  until  the  older  and  higher  in  rank  are 
seated. 

If  the  dishes  are  not  handed  by  a  servant,  but  pass  from  the 
lady  of  the  house,  a  guest  always  hands  the  viands  to  the  one 
next  him.  It  is  impolite  to  break' the  succession  in  order  to  do 
honor  to  any  single  person,  by  passing  the  dish  to  the  other  side 
of  the  table,  and  then  taking  it  back.  On  the  other  hand,  it  is 
not  only  proper,  but  politeness  demands  that  the  dish  be  held  for 
the  lady,  until  she  has  helped  herself. 

If  all  the  dishes  have  not  been  passed  around,  and  some  still 
remain  upon  the  table,  one  does  not  begin  to  eat,  until  the  lady 
or  gentleman  of  the  house,  or  the  most  distinguished  guest,  has 
begun. 

Although  the  rules  for  sitting  have  been  exactly  given  in 
*' Esthetic  Gymnastics,"  a  few  more  words  are  required  here  in 
regard  to  sitting  at  table.  Here,  certainly,  the  position  of  the 
feet  is  not  so  strictly  subject  to  rule  ;  but  they  should  never  be 
so  stretched  out  as  to  annoy  one's  neighbor  opposite.  In  like 
manner,  it  is  not  allowable  to  protrude  the  elbows  ;  they  should 


APPLICATION   OF   THE   RULES   GIVEN.  209 

be  so  sharply  drawn  in,  that  plachig  them  upon  the  table  would 
be  an  impossibility. 

Meat  is  to  be  severed  from  the  bone  by  knife  and  fork  ;  to 
gnaw  at  the  bone  is  in  the  highest  degree  unmannerly.  Bones, 
as  well  as  those  parts  of  fruit  which  are  not  eatable  (stones,  etc.), 
belong  to  the  edge  of  the  plate,  but  the  knife  and  fork  upon  the 
knife-rest  at  its  side.  After  eating  soup,  the  spoon  remains  in 
the  plate.  If  the  knives  are  not  changed,  one  cleanses  his  own 
with  a  bit  of  bread,  which,  in  any  event,  he  lets  lie  upon  his  plate. 

One  does  not  let  the  stones  of  fruit  fall  from  his  mouth  upon 
the  plate,  for  in  this  case  there  is  danger  of  their  springing'  upon 
the  table-cloth  or  upon  his  neighbor's  plate  ;  but  one  carries  his 
spoon  or  fork  to  the  lips,  places  the  stone  upon  it  and  then  carries 
it  to  the  edge  of  the  plate. 

Tarts  and  cakes  are  never  taken  with  the  fingers,  but  with  a 
knife  ;  but  comfits  (dry  ones)  are  take^n  with  two  fingers  (the 
thumb  and  index  finger),  and  preserved  fruits  with  the  spoon. 

If  one  has  to  pour  out  wine  or  water,  he  does  so  at  the  right 
with  the  left,  and  at  the  left  with  the  right  hand. 

If  at  table,  one  has  to  reach  any  sort  of  thing  (spoon,  knife 
fork,  glass,  bread,  etc.)  to  the  lady  near  him,  he  never  does  this 
with  the  bare  hand,  but  upon  a  plate. 

A  gentleman's  first  duty  certainly  is  attention  to  the  lady  he 
takes  to  the  table  ;  but  this  should  never  be  directed  so  exclu- 
sively to  her  that  he  vouchsafes  no  word  to  the  lady  on  his  left. 
The  man  of  culture  will  engage  alternately  both  ladies  in  conver- 
sation. 

In  eating  soup,  when  the  plate  begins  to  be  empty,  one  takes 
especial  care  not  to  strike  the  spoon  audibly  against  it. 

It  is  very  impolite,  in  helping  one's  self  from  a  dish,  to  hold 
it  critically  in  the  hand,  and  perhaps  lay  down  a  piece  already 
touched  by  the  fork,  doubtful  which  to  take.     If  one  helps  the 
lady  next  to  him,  he  should  always  take  the  best  for  her. 
14 


2IO  ^ESTHETIC    PHYSICAL   CULTURE. 

One  eats  meat  by  cutting  off  each  mouthful  separately  ;  to  cut 
the  whole  into  bits  beforehand  is  exceedingly  ill-bred. 

One  guards  against  laying  knife  or  fork  from  the  dish  which 
is  being  carried  around  upon  his  own  plate  ;  and  one  never  takes 
anything  from  the  dish  with  his  own  fork  ;  but  in  case  a  fork  is. 
lacking,  he  asks  for  one  from  the  servant. 

One  does  not  cut  the  roll  of  bread  ;  he  breaks  it. 

If  a  dish  is  brought  on  with  which  one  is  not  acquainted,  and 
which  he  has  never  tasted,  if  he  cannot  trust  his  gift  for  obser- 
vation and  see  at  a  glance  how  the  others  do,  he  lets  it  pass  by 
him,  rather  than  make  himself  ridiculous  by  eating  it  in  the  wrong 
way. 

One  shoiild  be  sparing  of  toasts.  The  first  belongs  to  the 
master  of  the  house,  while  welcoming  the  company.  The  high- 
est of  the  guests  returns  thanks,  by  proposing  a  toast  to  the 
master  and  mistress  of  the  house.  If  one  does  not  possess  the 
gift  of  ready  speech  (which  is  no  demerit),  he  should  not  press 
himself  urgently  into  a  reply  to  a  toast,  as  this  may  lay  him  open 
to  ridicule. 

The  person  of  highest  rank  in  the  company  always  gives  the 
signal  for  rising  from  the  table  ;  often  it  is  the  host  or  hostess. 
It  is  in  the  highest  degree  ill-mannered  to  rise  before  the  signal 
is  given. 

In  rising  one  makes  a  slight  bow  to  right  and  left,  and,  as  in 
coming  to  the  table,  offers  his  arm  to  his  lady,  and  conducts  her 
back  to  the  dancing-hall  or  into  another  room. 

Deportment  at  the  Theatre  or  Concert. 

At  the  theatre,  as  in  the  concert-room,  the  same  rules  for 
deportment  are  observed  as  in  good  society.  We  have,  there- 
fore, only  a  few  remarks  to  add  to  what  has  already  been  said. 

It  is  especially  impolite  and  contrary  to  all  decorum  and  cul- 
ture, to  rise  too  early  at  the  close  of  a  performance,  or  to  begin 
to  prepare  for  departure  by  a  putting  on  of  wraps,  shawls  or 


APPLICATION   OF   THE    RULES    GIVEN.  211 

hats  (with  ladies).     In  this  way  the  close  of  the  piece  is  ruined 
for  the  rest  of  the  audience  as  well  as  for  the  performers. 

The  Visit  of  Ceremo7iy. 

Many  reasons  give  occasion  for  this  visit.  Among  them  are  : 
The  rendering  of  thanks,  the  conveying  of  some  sort  of  tidings, 
congratulations  to  superiors,  requests  for  promotion,  presentation 
to  those  dwelling  in  a  house  to  which  one  has  himself  just 
removed,  etc. 

If  we  would  enter  a  room  in  which  we  are  a  stranger,  we  knock 
lightly  but  decidedly  on  the  outside  door,  and  wait  for  ^'  come 
in!"  If  this  does  not  follow,  we  knock  a  second  time  ;  if  no 
response  then  comes,  we  do  not  enter  ;  we  withdraw  unless  a 
servant  is  near  from  whom  we  may  receive  information. 

If  a  servant  is  at  hand,  we  allow  ourselves  to  be  announced  ; 
the  servant  opens  the  door ;  and,  after  we  have  left  in  the  ante- 
room, all  such  objects  as  cloak,  overcoat,  cane,  umbrella,  etc.,  we 
enter  hat  in  .hand,  wearing  gloves,  which  on  such  occasions  we 
never  lay  aside,  unless  the  master  or  mistress  of  the  house 
request  a  longer  stay,  in  which  case  the  gloves  are  removed. 
Ladies  (if  the  visit  is  not  to  a  high  personage)  do  not  lay  aside 
their  hats  and  cloaks. 

If- a  servant  does  not  open  the  door,  we  open  it  ourself,  accord- 
ing to  the  rules  given.     (See  "Opening  of  a  Door.") 

If  we  enter  an  empty  room  in  which  we  are  to  await  the  person 
visited,  we  remain  quietly  standing.  To  go  around  the  room, 
peering  at  pictures  and  furniture,  leaning  against  the  latter,  open- 
ing and  gazing  into  the  books  lying  upon  the  table,  as  if  testing 
things,  is  the  height  of  ill-breeding.  The  one  awaited  appears, 
we  approach  within  a  few  steps  of  him,  with  a  bow,  then  wait  to 
act  as  he  does.  If  he  remains  standing,  we  do  the  same  ;  if  he 
has  a  chair  set  for  us,  or  points  to  a  chair  and  takes  a  seat  him- 
self, we  also  take  a  chair,  according  to  the  prescribed  rules,  seat 
ourself  with  a  slight  bow,  and  in.  a  few  words,  make  known  our 
errand. 


212  ESTHETIC   PHYSICAL   CULTURE. 

When  the  visit  is  over,  we  take  leave  in  the  prescribed  way. 
(See  "  Opening  of  the  Door  upon  Leaving.")  If  we  have  set  the 
chair  ourself,  we  return  it  to  its  former  place.  (See  ^'Setting 
Back  a  Chair.") 

If  several  persons  are  already  in  the  room  with  the  one  to 
whom  the  visit  is  paid,  all  rise  when  the  master  and  mistress  do 
so,  and  remain  standing  before  their  chairs  until  invited  to  sit 
down  again.  If  the  one  to  whom  the  visit  is  paid  is  absent,  the 
visitor  gives  his  card  to  the  servant  with  a  corner  turned  down  ; 
if  there  are  several  persons  to  visit,  a  card  must  be  left  for  each, 
with  this  distinction,  that  the  ladies  only  leave  cards  for  the 
ladies  of  the  house,  but  the  gentlemen  for  both  the  ladies  and 
gentlemen. 

Audience  with  Princes. 

The  one  entering  steps,  with  hat  in  his  right  hand,  after  the 
door  has  opened  to  him,  two  or  three  steps,  according  to  space, 
into  the  chamber  or  hall,  and  immediately  upon  the  fourth  step 
pays  his  compliments,  naturally,  in  the  most  dignified  and  rever- 
ential way.  After  drawing  himself  erect,  he  pauses,  his  glance 
fixed  upon  the' prince  in  deferential  expectation.  If  the  prince 
motions  to  him  to  step  nearer,  he  passes  to  a  respectful  distance 
(three  steps),  makes  a  second  bow,  and  pauses  in  silence.  One 
never  speaks  until  the  prince  requests  it.  Then  he  tells  his  er- 
rand briefly  and  clearly. 

When  the  prince  gives  a  signal  that  the  audience  is  ended,  the 
visitor  makes  the  Reverence  at  Departure,  goes  sideward-back- 
ward toward  the  door,  his  glance  turned  to  the  prince.  When 
he  reaches  the  door,  he  makes  a  second  bow,  and  leaves  the  hall. 

During  the  interview  his  glance  is  fixed  steadily,  but  without 
presumption,  upon  the  prince. 

If  the  prince  enters  the  room  when  the  one  who  has  begged 
the  audience  is  already  there,  the  latter,  as  soon  as  the  former 
enters,  makes  the   first  bow,  and  waits  until  the  prince  beckons 


APPLICATION   OF   THE    RULES    GIVEN.  213 

him  to  approach  or  himself  approaches.  If  the  prince  steps 
nearer,  the  visitor  makes  the  second  bow  on  the  spot. 

If  some  one  enters  a  hall,  in  which  the  prince  and  princess,  as 
well  as  the  court-circle  are  present,  the  first  bow  is  to  the  prince, 
the  second  to  the  princess. 

In  coming,  as  in  going,  no  notice  is  taken  of  the  others  pre- 
sent. In  going,  the  first  bow  is  to  the  prince,  the  second  to  the 
princess,  but  at  the  door  only  one  bow  is  made. 

If  the  prince  approaches  some  one  in  the  hall  and  wishes  to 
speak  with  him,  the  latter  makes  a  bow  at  once.  The  same 
when  the  prince  leaves  him. 

It  is  of  service  to  the  dramatic  delineator  to  know  that  those 
around  the  prince,  never  bow  when  he  is  saluted,  excepting  when 
a  person  of  higher  rank  than  they  themselves  enters  ;  then  they 
bow  without  waiting  for  his  salutation. 

CONCLUSION. 

The  Manner  of  Studying  this  Book  without  a  Teacher. 

If  the  pupil  has  a  teacher,  he  will  prescribe  rules  ;  if  the  pupil 
wishes  to  instruct  himself  there  are  only  two  methods  in  which 
this  may  be  done. 

The  first  is  :  To  execute  all  the  movements  of  Physical  and 
^Esthetic  Gymnastics  before  a  large  mirror,  and  in  the  following 
way  :  one  does  not  take  position  while  gazing  into  the  mirror  ; 
he  takes  it  in  accordance  with  his  own  idea,  retains  it  for  a  time, 
and  then  gazes  into  the  mirror  to  see  if  it  is  right. 

The  second  method  we  propose  to  the  pupil  is  far  better. 
Every  one  has  a  congenial  friend  who  wishes  in  some  sort  to 
share  in  this  study.  With  this  friend,  he  begins  in  the  following 
way  :  The  friend  takes  the  book  in  hand,  seats  himself  opposite 
the  one  who  is  practising,  and  while  the  latter  goes  through  with 
the  prescribed  movements,  the  former  observes  and  criticises 
what  he  sees.  Then  both  exchange  parts  :  the  critic  becomes 
the  pupil  and  vice  versa. 

This  is  the  best  manner  of  reaching  the  desired  goal  in  a  short 
time  and  in  the  most  direct  7vay. 


ERRATA.    . 

The  reader  will  please  note  the  following  misprints  which  have  escaped  cor- 
rection. A  slight  use  of  the  pen  or  knife  will,  in  most  cases,  rectify  the  errors 
without  much  defacement  of  the  page  : 

Page  13,  last  line,  for  imperfect  word  read  clavicle. 

Page  32,  first  line,  for  the  present  sentence  read  :  F^'om  the  foriva'} d  inclina- 
tion of  the  head  we  pass  to  the  left  side,  to  the  back,  to  the  right  side 
and  again  to  the  forivard  movement,  repeating  the  tvhole  exercise  in 
reversed  order,  the  upper  part  of  the  body,  etc. 

Page  44,  9th  line,  for  "  LXVII  "  read  LXVI. 

Page  61,  19th  line,  for  "  finger"  read  fingers. 

Page  62,  8th  line,  for  "  LXVII "  read  LXV. 

Page  66,  i8th  line,  for  "  LXVIII,  a  "  read  LXVII,  a. 

Page  67,  6th  Hne,  for  "  LXVIII,  a  "  read  LXVII,  a. 

Page  68,  loth  line,  for  "  LXVIII,  a,  a  "  read  LXVII,  a,  a. 

Page  83,  8th  line,  for  "  LXXVIII  "  read  LXVIII. 

Page  131,  19th  line,  for  "  patomimic  "  read  pantomimic. 

Page  132,  I2th  line,  for  "  patomimic  "  read  panto7nimic . 

Page  205,  22d  line,  for  "setting"  read  sittifig. 

Page  207,  8th  line,  for  "  loosing"  read  loosening. 


(UNI7EESIT' 


PUBLISHER'S  ANNOUNCEMENT.. 

In  his  "  Letters  upon  the  ^Esthetic  Education  of  Man,"  Schiller  says  :  "I 
■do  not  overlook  the  advantages  to  which  the  present  race,  regarded  as  a  unity 
and  in  the  balance  of  the  understanding,  may  lay  claim  over  what  is  best  in  the 
ancient  world  ;  but  it  is  obliged  to  engage  in  the  contest  as  a  compact  mass,  and 
measure  itself  as  a  whole  against  a  whole.  Who  among  the  moderns  could  step 
forth,  man  against  man,  and  strive  with  an  Athenian  for  the  prize  of  higher  hu- 
manity ?  Whence  comes  this  disadvantageous  relation  of  individuals  coupled 
with  great  advantages  of  the  race  ?  Why  could  the  individual  Greek  be  qualified 
as  the  type  of  his  time,  and  why  can  no  modern  dare  to  offer  himself  as  such  ? 
Because  all-uniting  nature  imparted  its  forms  to  the  Greek,  and  an  all-dividing 
understanding  gives  our  forms  to  us." 

And,  after  he  has  traced  back  this  contrast  between  the  harmoniously  educated 
man  of  antiquity  and  the  one-sided  culture  of  the  man  of  the  present  to  the  dif- 
ference between  the  mode  of  education  of  former  times  and  that  now  prevalent, 
he  demands  for  the  individual,  despite  the  general  purpose  he  has  to  serve  by  a 
one-sided  activity,  the  right  for  his  own  sake  of  a  harmonious  culture  in  all  direc- 
tions, thereby  to  bring  the  totality  of  his  powers  into  exercise.  He  says  this  in 
the  following  words  : 

.  *'  But  whatever  may  be  the  final  profit  for  the  totality  of  the  world,  of  this  dis- 
tinct and  special  perfecting  of  the  human  faculties,  it  cannot  be  denied  that  this 
final  aim  of  the  universe,  which  devotes  them  to  this  kind  of  culture,  is  a  cause 
of  suffering,  and  a  kind  of  malediction  for  individuals.  I  admit  that  the  exer- 
cises of  the  gymnasium  form  athletic  bodies  ;  but  beauty  is  only  developed  by 
the  free  and  equal  play  of  the  limbs.  In  the  same  way  the  tension  of  the  isolated 
spiritual  forces  may  make  extraordinary  men,  but  it  is  only  the  well-tempered 
equilibrium  of  these  forces  that  can  produce  happy  and  accomplished  men.  *  * 
But  can  it  be  true  that  man  has  to  neglect  himself  for  any  end  whatever  ?  Can  na- 
ture snatch  from  us,  for  any  end  whatever,  the  perfection  which  is  prescribed  to 
us  by  the  aim  of  reason  ?  It  must  be  false  that  the  perfecting  of  particular  fac- 
ulties renders  the  sacrifice  of  their  totality  necessary  ;  and  even  if  the  law  of  na- 
ture had  imperiously  this  tendency,  we  must  have  the  power  to  reform  by  a 
superior  art  this  totality  of  our  being,  which  art  has  destroyed." 

Indeed,  the  exercise  of  this  "  superior  art  "  is  considered  the  great  task  of  ped- 
agogics since  it  has  found  a  scientific  basis.  To  educate  man  in  the  "  totaHty  of 
his  nature,"  is  the  end  which  the  greatest  pedagogues  have  set  themselves  and 
their  successors.  Far  enough  as  our  age  may  still  be  from  practically  carrying 
out  this  idea,  it  is  acknowledged  in  theory  and  set  up  as  the  ideal,  never  again, 
it  is  hoped,  to  be  lost  to  mankind.  Already  the  Germans  possess  a  large  litera- 
ture pervaded  by  this  idea  ;  the  work  having  been,  in  this  as  in  all  other  depart- 
ments, divided  and  subdivided.  For  everywhere  specialists  work  for  the  general 
end.  In  order,  however,  that  such  requisite,  one-sided  activity  shall  not  prove 
misleading,  each  department  must  remain  in  conscious  connection  with  the  total- 
ity of  the  task.  Let  us  here  briefly  mention  the  two  pnncipal  points  to  be  exem- 
plified : 

Education  of  the  mind  must  never  presume  to  thrive  at  the  expense  of  that 
of  the  body  ;  and  physical  education  must  not  forget  that  it  can  accomplish  the 
highest  ends  only  by  aid  of  the  mind.  We  have  tO  treat  to-day  of  a  book  which 
belongs  in  the  latter  category,  a  book  on  "  ^Esthetic  Physical  Culture,"  that  phy- 
sical culture  which,  to  use  Schiller's  words,  not  only  "  develops  athletic  bodies 
but  forms  beauty  by  the  free  and  equal  play  of  the  hmbs." 

Oskar  Guttmann's  book,  "  Esthetic  Physical  Culture,"  a  most  valuable  work 
which  has  for  years  been  acknowledged  to  fill  a  great  gap  in  this  department  of 


literature,  has  just  been  published  in  a  second  revised  edition.  On  its  first 
appearance,  Dr.  Feodor  Wehl  wrote:  ''A  beautiful  harmony  is  here  struck 
between  ideahsm  and  realism,  which,  understandingly  called  into  life,  can  not 
remain  without  triumphant  results."  Spielhagen  declared  that  he  had  "  read  the 
book  repeatedly  and  with  great  interest,  feeling  true  joy  at  the  idea  of  the  good 
it  might  do."  In  concluding  its  review,  a  Hamburg  professional  journal  said  : 
"  In  truth,  our  German  literature  possesses  no  work  of  this  kind.  That  which 
lends  it  peculiar  value  is  the  scientific  basis  on  which  the  author  rests." 

The  necessity  of  asking  the  author,  who  resides  in  New  York,  to  revise  his 
book  for  republication  in  Germany,  bears  witness  that  his  teachings  have  been 
verified  by  practice.  His  instructions  are  intended  for  two  classes  of  people, — 
the  cultured  man  in  general  and  the  actor  in  particular.  His  book,  as  he  says  in 
the  preface  to  the  second  edition,  "gives,  in  a  strictly  rational,  scientific,  and 
systematic  manner,  the  means  to  aesthetically  educate  the  body  and  its  move- 
ments, and  prepares  the  pupil  to  enter  upon  the  study  of  mimic  art."  His  sys- 
tem rests  on  the  principle  that  gymnastics  are  the  fundamental  element  of  histri- 
onic art  ;  not,  however,  in  the  ordinary  pedagogical  (physical)  sense,  but  with- 
particular  attention  to  plastic  art  and  sesthetics.  But  inasmuch  as  mimic  art  is 
impossible  without  Desthetic  gymnastics,  so  the  latter  are  impossible  without  pre- 
vious physical  gymnastics.  Who,  in  this  connection,  will  not  think  of  Goethe's 
words  which,  in  his  "  Introduction  to  the  Propyloeum,"  he  addresses  to  the  artist:  . 

' '  The  human  form  can  not  be  comprehended  merely  by  the  contemplation  of 
its  surface.  The  interior  must  be  laid  bare,  the  parts  separated,  their  union  con- 
sidered, their  differences  known,  action  and  counter-action  studied,  the  concealed, 
the  ground,  the  foundation  of  the  visible  must  be  learned,  if  we  would  truly 
observe  and  imitate  that  which  we  see  moving  before  our  eyes  in  living  waves,  as 
one  beautiful,  undivided  whole." 

Like  the  sculptor  who  is  to  imitate  truly  the  human  form,  so  must  man,  who 
desires  to  use  his  frame  correctly,  "  lay  bare  its  interior  to  his  consciousness,  sep- 
arate the  parts,  etc."  In  short,  he  must  gain  an  insight  into  the  anatomy  of  his 
body.  Accordingly,  Prof.  Guttmann  begins  his  work  with  "Anatomical  and 
Physiological  Principles,"  which  he  divides  into  three  chapters, — "  The  Human 
Skeleton,"  "  The  Muscles,"  and  "  The  Mechanism  of  the  Limbs."  "  Physical 
Gymnastics  "  form  the  second  part.  The  third,  which  is  to  be  regarded  as  the 
principal  portion  of  the  book,  treats  of  ".'Esthetic  Gymnastics,"  "The  Plastic 
Art,"  and  "The  Mimic  Art."  Four  other  parts  are  added  under  the  titles: 
"  The  Art  of  Dancing,"  "  The  Art  of  Fencing,"  "Main  Principles  of  Dress," 
and  "  Application  of  the  Rules  to  Common  Life,  the  Salon  and  the  Stage." 

It  may  thus  be  seen  how  systematically  the  book  is  arranged,  and  how  compre- 
hensive it  is.  We  are  inclined  to  dwell  with  special  emphasis  on  the  practical 
use  of  that  part  which  treats  of  the  "Application  of  the  Rules."  In  this 
country,  more  than  in  any  other,  does  the  need  exist  for  such  directions  in 
Aesthetic  Physical  Culture.  We  have  here  no  professional  military  class  in 
whose  officers  our  young  men  might  find  models  of  at  least  physical  culture.  Nor 
have  we  among  us  an  aristocratic  court  circle  whose  members  our  ladies  might 
deem  just  standards  of  demeanor.  In  our  country  the  number  daily  grows  of 
those,  who,  starting  from  humble  surroundings,  have  become  rapidly  enriched, 
and,  feeling  urgent  cause  and.  the  best  will  to  demean  themselves  as  cultured  per- 
sons, yet  are  at  a  loss  after  what  models  to  mould  themselves.  In  democratic 
America,  where  every  one  possesses  the  right  to  call  forth  by  self-instruction  the 
best  that  is  in  him,  and  to  constitute  himself  the  "model,"  a  work  Hke  that  of 
Guttmann's  ought  to  find  a  specially  favorable  reception. 

Eighty-Seven  Original  Illustrations;  Handsomely  printed  and  bound;  Price  $2. 
postpaid.     Address  the  Publisher,  EDGAR  S.  WER\ER,  Albany,  X.  Y. 


FROM  LEO  KOFLER,  TEACHER  OF  THE  ART  OF  SINGING,  NEW  YORK. 

[In  his  "  The  Old  Italian  School  of  Singing."] 
We  have  arrived  now  at  the  last  expedient  of  a  singer's  good  style  in  singing  ; 
namely,  the  external  dememior  of  the  body  and  the  facial  expression.  This  sub- 
ject ought  *to  engage  a  singer's  very  careful  attention  and  study.  This  was, 
hitherto,  no  easy  matter.  There  was,  to  my  knowledge,  no  work  in  existence 
that  treated  this  subject  fully  and  systematically  from  the  singer's  standpoint.  It 
is  true  that  in  a  number  of  books  pertaining  to  the  vocal  and  dramatic  art,  this 
subject  has  been  ventilated  ;  but  nowhere  has  it  received  the  attention  it  de- 
serves, except  at  the  hands  of  Oskar  Guttmann,  in  his  excellent  work,  "  ^Esthetic 
Physical  Culture."  He  treats  this  subject  in  his  own  practical  and  philosophical 
way,  and  I  warmly  commend  his  book  to  the  faithful  perusal  of  every  student  of 
vocal  and  dramatic  art. 


REVIEWS  OF  THE  FIRST  GERMAN  EDITION. 

[Friedrich  Spielhagen  in  Sonntagsblatt .'\ 

I  have  read  the  book  over  and  over  again,  with  great  interest  as  I  thought  of  the  good 
it  might  do.  Out  of  what  rich  source  has  the  author  drawn  !  How  clear  is  his  proof  that  a 
stiff,  awkward  body  cannot  assume  the  various  forms  demanded  for  the  portrayal  of  different 
characters  !  It  is  certainly  to  be  wished  that  this  book  will  have  a  general  circulation,  for  it 
will  be  found  useful,  not  only  to  the  actor  and  orator,  but  also  to  non-professional  persons,  who 
will  learn  in  it  what  pertains  to  the  drama  and  to  oratory,  and  will  be  satisfied  with  nothing 
less  than  genuine  art.  But  to  those  who  choose  the  stage  or  the  rostrum  for  a  profession,  the 
information  contained  in  this  book  is  indispensable.  In  it  they  better  appreciate  the  meaning 
and  importance  of  dramatic  and  oratorical  art,  and  be  shown  what  obstacles  are  to  be  over- 
come. They  will  learn  that  their  profession  is  a  noble  one,  and  that  to  meet  its  requirements 
necessitates  the  earnest  and  persevering  use  of  all  their  faculties.  Those  who  believe  they 
can  accomplish  everything  through  talent  alone,  without  study,  may  exclaim,  after  examining 
the  book,  ''  The  obstacles  are  insurmountable  !"  and  make  no  further  attempt.  Such  persons 
would  do  well  to  abandon  the  dramatic  and  oratorical  profession,  for  energy  and  perseverance 
are  qualities  indispensable  to  the  artist.  Such  persons  as  were  born  in  unfavorable  circum- 
stances and  could  not  receive  proper  culture,  will  find  in  this  book  the  instruction  they  need, — 
what  they  must  learn  and  how  to  learn  it.  They  will  be  convinced  that  an  actor  or. actress 
must  have  something  more  than  mere  physical  beauty  if  he  or  she  would  be  successful.  Dis- 
ciples of  art,  be  diligent !  Show  that  you  possess  artistic  tastes,  and  that  you  are  sincerely 
striving  to  fulfill  the  mission  to  which  you  feel  yourselves  called! 

t  Leipzig  y^z^r?«rt/.] 

This  is  the  first  exhaustive  scientific  treatise  on  aesthetic  physical  culture,  and  is  designed 
not  only  for  dramatic  art  but  for  all  refined  circles.  This  fact  more  than  justifies  our  recom- 
mending the  book — it  makes  it  our  boundeft  duty  to  do  so. 

[Hamburg  Theaterzeitung.'] 

In  fact,  our  German  literature  possesses  no  work  of  this  kind.  Its  special  value  is  the 
strictly  scientific  basis  on  which  the  author  rests.  The  book  is  to  be  considered  in  a  twofold 
manner, — from  the  general  standpoint  of  a  person  of  culture,  and  from  the  articular  standpoint 
of  a  professional  artist.  The  author  proceeds  from  the  right  principle,  namely,  that  every 
actor  must  first  be  a  man  of  culture.  In  this  respect,  the  scope  of  the  book  is  a  masterpiece. 
Prof.  Guttmann's  keen  powers  of  observation,  to  which  we  had  occasion  to  refer  in  reviewing 
his  ''  Gymnastics  of  the  Voice,"  are  more  strikingly  manifested  in  ''Esthetic  Physical  Cul- 
ture," and  we  urgently  advise  young  persons  of  both  sexes,  who  are  anxious  to  improve  them- 
selves, to  closely  follow  the  teachings  of  both  these  books. 

[Dresden  Gazette.'] 

A  first  attempt,  but  so  successful  that  it  has  fully  accomplished  its  purpose.  Indeed,  in 
its  clearness  and  thoroughness  it  surpasses  all  its  predecessors. 


[Hamburg  Reforvi.l 
In  all  the  research  and  wisdom,  in  all  the  thoroughness  and  system  continually  shown  in 
this  work,  the  author  steers  clear  of  all  pedantry,  and  nothing  -s  farther  from  him  than  the 
idea  that  training  alone  will  make  an  artist  out  of  every  grown  persoi  .  The  actor,  like  the 
poet,  must  be  born — that  is  his  unchangeable  belief.  But  when  mental  endowment  and  dra- 
matic fire  exist,  the  body  is  the-medium  through  which  these  must  act,  and  to  make  it  respon- 
sive in  all  its  limbs,  muscles  and  nerves,  such  study  and  such  exercises  as  given  in  this  book  are 
indispensable.  Part  Third  is  the  kernel  of  the  whole  book,  and  should  be  studied  by  all  dra- 
matic and  oratorical  students  ;  not,  however,  before  the  first  two  parts  have  been  thoroughly 
mastered.  Indeed,  it  is  a  carefully  graded  text-book,  no  part  of  which  can  be  omitted,  if  good 
results  are  desired.  The  book  is  designed  for  all  cultured  circles.  Its  study  is  greatly  facili- 
tated by  the  large  number  of  wood  cuts. 

[Berlin  Music  and  Drama. "X 
When  it  is  remembered  how  often  even  prominent  artists  make  themselves  ridiculous  by 
violations  of  the  simplest  laws  of  walking,  speaking,  and  especially  gesticulation,  the  details 
and  exactness  with  w^hich  the  author  treats  of  these  matters  will  be  duly  appreciated.     From 
the  discussion  of  the  Hogarthian  line  of  beauty,  as  the  only  sure  basis  for  pleasing  gestures, 
down  to  the  directions  for  pantomimic  reading  and  writing,  there  are  rules  and  principles  which 
every  actor,  singer  and  orator  should  carefully  study.     Every  page  contains  something  of  value, 
[Dresden  Constitutionelle  Zeitung.'] 
Guttmann's  book  does  not  tend  to  transgressions  (of  too  frequent  occurrence  on  the  stage 
of  the  laws  of  noble  proportions  and  beauty,  nor  does  it  lead  to  mec/iatiica/  acting.     On  the 
contrary,  it  aims  to  correct  these  defects  by  recommending  and  giving  the  means  to  follow  the 
maxim,  more  and  more  passing  into  forgetfulness,  that  "  nature  is  to  be  copied  in  its  beauty." 
We  recommend  Guttmann's  book  to  the  thorough  study  of   all  who  wish  to  portray  human 
sentiments. 

[Dr.  Feodor  Wehl.] 
Just  now,  when  the  tendency  of  the  times  is  to  view  everything,  even  matters  of  art,  with 
frivolous  superficiality,  special  thanks  are  due  the  author,  who  so  ably  and  successfully  seeks 
to  place  dramatic  art  upon  a  scientific  basis,  and  more  in  accord  with  the  spirit  and  progress  of 
the  present  day.  A  beautiful  harmony  is  here  struck  between  idealism  and  realism,  which, 
understandingly  called  into  life,  cannot  remain  without  triumphant  results.  INIay  the  entire 
dramatic  profession,  and  all  other  persons  of  artistic  vocations  or  natures,  cordially  welcome 
this  book!  By  so  doing  they  will  themselves  be  benefited,  and  also  promote  dramatic  and  ora- 
torical art. 

{lVese7'zettzcn£^y  Bremen.] 
Hitherto  there  has  been  no  such  a  book,  and  for  a  pioneer  one,   ^'/Esthetic  Physical  Cul- 
ture "  comes  surprisingly  near  the  mark.     From  a  thoroughly  scientific  basis,  it  develops,  in 
clear,  comprehensive  language,  and  with  numerous  illustrations,  the  main  rules  for  aesthetic 
attitudes  and  movements,  as  required  in  cultured  society  and  in  genuine  dramatic  art.     The 
work  is  doubly  valuable  because  it  lays  down  as  a  fundamental  principle  that  the  training  of 
an  artist  must  be  preceded  by  the  training  of  a  cultured  person. 
[Carlsruhe  Zeitung.'] 
Two  things  are  particularly  required  of  a  scientific  work  like  ''^Esthetic  Physical  Cul- 
ture," viz.,  thoroughness  and  utility.     These  are  found  in  Guttmann's  book,  and  in  the  best 
manner.     Another  requisite  is  intelligibility.,  and  this,  too,  is  there.      The  author  has  dili- 
gently studied  and  mastered  his  subject,  and  has  put  his  heart  into  the  work,  his  own  expe- 
rience as  an  actor  being  of  great  service  to  him.     The  systematic  arrangement  of  the  book 
facilitates  its  study  and  makes  it  a  guide  to  all.     We  wish  for  it  an  extended  circulation,  in 
order  that  people  may  attain  unto  greater  aesthetic  culture  in  all  directions. 

[Cologne  Zeitutig^ 
''^E^sthetic  Physical  Culture"  is  of  great  value  to  actors  and  orators,  to  theatrical  managers 
and  dramatic  critics.     It  is  als<   a  guide  and  counsellor  for  refined  society  generally,  especially 
for  the  rising  generation,  in  questions  of  politeness  and  proper  behavior. 


t 


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